hollow clay

100 Magic Items for 5e Pt. 15

Past Posts

Items 1 - 5

Items 6 - 10

Items 11 - 15

Items 16 - 20

Items 21 - 25

Items 26 - 30

Items 31 - 35

Items 36 - 40

Items 41 - 45

Items 45 - 50

Items 51 - 55

Items 56 - 60

Items 61 - 65

Items 66 - 70

71.      Ring of Race Changing

Wondrous Item (Ring), Rare,

This ring is crafted of simple silver; the band is etched with different letters from all languages of the realms - some unrecognisable to any living person. Every morning the player wakes up taking on the features of a different race according to a D8 roll. If the player is already the race rolled the character is unaffected that morning (Or roll again; DM’s choice). Every morning the player loses the abilities of the previous days roll and takes on the new effects.

1 – Elf. The players’ ears grow long and pointy, and any facial hair they have grown becomes patchy and light. They become more slender and agile gaining 5 additional movement speed.

2 – Dwarf. The player wakes up having grown a large beard if they are able. They also appear to have gained a few pounds – and have acquired a taste for ale. The player also gains the “Stonecunning” and “Dwarven Resilience” traits.

3 – Halfling. The player takes on a cheery disposition to life and a newfound love for music and performance, also becoming noticeably shorter (Player is still considered the same size) They gain the “Halfling Luck” trait.

4 – Tabaxi. The player becomes covered in fur, and their pupils become slit, as well as gaining a penchant for mischievous curiosity. Additionally, they gain the “Cat’s claws” and “Feline Agility” traits.

5 – Half-Orc. The player gains thick, strong muscles, developing an underbite and pronounced teeth. The player becomes proficient in intimidation and gains the “Relentless Endurance” trait.

6 – Tiefling. The player’s skin takes on a tone of red or purple, their eyes turning red and a tail sprouts from behind them. They gain a darkvision of 60 feet and the “Infernal Legacy” trait.

7 – Triton. The players take on a tone of the blue or green in their skin and hair, as well as growing gills on their ribs, cheeks or similar area. They take on the “Amphibious” trait and they suddenly gain a kinship with marine animals gaining the “Guardians of the Depths” trait.

8 – Gnome. The player becomes stout and short of leg finding themselves more in tune with nature, they gain the “Gnome Cunning” trait and their size becomes small if it wasn’t already.

72.      Symbol of the Lich Slayer

Wondrous Item, Very Rare, Requires Attunement by a Cleric

This holy symbol is made of weighted gold, crafted in the shape of a sun and its rays. A cleric who is attuned and uses this symbol for their holy symbol gains resistance to necrotic and poison damage. Additionally, when using the “Turn Undead” ability the target has disadvantage on the saving throw.

 

73.      Bouquet Staff

Staff, Uncommon

This staff is a long hollowed out clay tube filled with potting soil. Every day 1d4 flowers grow from the top of the staff, with a max of 7 flowers. When the player presses a button on the side of the staff, causing one of the flowers to explode in a plume of pollen and colour, casting the “Colour Spray” spell. The player can explode multiple flowers at once, casting the spell at one level higher for every flower exploded.

74.      Guardian Shield

Armour (Shield), Very Rare, Requires Attunement

A glorious steel kite shield, symmetrical jade patterns adorn its front side. As a bonus action you can cause the shield to levitate moving it up to 30 feet to occupy the same space as another creature. When in the same space as a creature that creature gains +2 AC. The creature attuned to this shield cannot wield a weapon in their shield hand while using this effect, guiding the shield telepathically with sematic gestures. The player can move the shield 30 feet as a reaction or call it back to their hand as an action.

75.      Soul Tether

Wondrous Item (Rope), Uncommon, Requires Attunement

A length of ethereal rope invisible to a layman’s eyes. The character attuned to this rope ties it around their torso, once tied the rope becomes a tether directly attached to the living energy of the creature. The player may then tie the other end of the rope to another creature’s torso – this creature does not become attuned to the tether. The tethered creatures can not exist on different planes of existence – whenever one is sent to a different plane (such as the astral plane), the other tethered player is also summoned to that realm appearing in a spot within 30 feet of the other tethered creature.

Whether the dead be enclosed in sculptured stone sarcophagi, or sealed in the hollow of metal or clay urns, or encased upright, gilded and decorated in blue, with brain and viscera removed, swathed in linen bands, yet will I conduct them in a company and guide them on their way with my controlling wand.

We advance down a swift path that eye of man hath not seen. Harlots press close against virgins, murderers against philosophers, mothers against those that refused to bear children, and priests against perjurers. For they repent them of their sins, were they those of the imagination or of the deed. And having never been free upon earth, since they were there trammelled by customs and laws, or their own beliefs, they fear isolation and cling to each other for help. She that slept naked in the tiled chambers among the men is consoling a young girl who died before her nuptial eve, — yet dreaming imperiously of her love. One that was wont to murder on the highways, his face grimed with ashes and soot, places his hand on the brow of a thinker who wished to regenerate the world and preached death. The woman who loved her children and suffered through them buries her face in the bosom of an hetaira who, by intent, was without issue. The long-robed man that was persuaded he believed in his God and constrained himself to kneel often, now weeps on the shoulder of a cynic who broke every law of the flesh and spirit before the eyes of the world. So sustains the one the other along the route, journeying under the yoke of memory.

Then they come to the bank of Lethe where I range them along the shore of the silent-flowing water. Some plunge therein their heads containing evil thoughts, others the hands that wrought evil. Rising therefrom, the water of Lethe has effaced all remembrance.

Therewith they stand aloof from one another, and each smiles believing he is free.

—  Marcel Schwob/Hermes
Sixteenth Chapter. Here is told how the craftsmen who cast precious metals fashioned their wares

(pages 73-78, Book 9, Florentine Codex, Anderson and Dibble translation with images supplemented from original Codex)

The craftsmen fashioned [and] designed objects by the use of charcoal [and clay molds] and beeswax [models] to cast gold and silver. With this [step] they made a beginning in their craft. To start with, he who presided distributed charcoal among them. First they ground it, they pulverized it, they powdered it. And when they had ground it, then they added it to, they mixed it with, a little potter’s clay; this was the clay which served for ollas. Thus they made the charcoal [and clay mixture] into a paste, kneaded it, worked it with the hands into a cohesive mass, so that it would dry and harden.

And also they prepared it: in just the same manner [as tortillas] they made it into flat cakes, which they arranged in the sun; and others were likewise formed of clay which they set in the sun. In two days [these cakes] dried; they became firm, they hardened. When they had dried well, when they had hardened, then the charcoal [and clay core] was carved, sculptured, with a small metal blade.

[If] a good likeness, an animal, was started, [the core] was carved to correspond to the likeness, the form in nature [that] it imitated, so that from it would issue [in metal] whatsoever it was desired to make - perhaps a Huaxtec, perhaps a stranger, one with a pierced, perforated nose, an arrow across the face, painted [tattooed] upon the body with obsidian serpents. Just so was the charcoal [and clay core] dealt with as it was carved, as it was carefully worked. It was taken from whatsoever thing was intended to be reproduced; howsoever its essence or appearance, so would it become [in metal]. If it were, perchance, a turtle, just so was the charcoal [and clay core] modeled: its shell, in which it can move; its head, which is peering forth from it; its neck, which is moving; and its feet, which are as though extending. Or if a bird were to be fashioned of gold, just so was the charcoal [and clay core] carved, so was it shaped, to give it feathers, wings, tail, feet). Or [if] a fish were to be made, just so was carved the charcoal [and clay core] to give it its scales; and its side fins were formed and its tail stood divided. Or [if] a lizard were to be made, its feet were formed. So was the charcoal [and clay core] carved for whatsoever creature was imitated. Or else a radiating, golden necklace would be completed, with bells about its edge, each designed, decorated, with flowers.

When the charcoal [core of the mold] had been prepared, designed, carved, then the beeswax was melted. It was mixed with white copal, so that it would [become firm and] harden well. Then it was purified, it was strained, so that its foreign matter, its dirt, the impure beeswax, could fall. And when the beeswax had been prepared, it was then flattened, rolled out, upon a flat stone with a round piece of wood. It was a very smooth, flat stone on which [the wax] was flattened-[and] rolled.

When it was well flattened, just like a cobweb, nowhere of uneven thickness, then it was placed over the [carved] charcoal [and clay core]; the surface was covered with it. And carefully it was placed on [the core] ; cautiously little pieces [of wax] were cut off or pared away. By this means a little [wax] entered hollows, covered eminences, filled depressions in places where the charcoal [and clay core] had been carved away. By means of a stick [or sliver of wood] they went making it adhere [to the core].’ And when it was prepared, when everywhere the beeswax was placed, then a paste of powdered charcoal was spread on the surface of the beeswax. Well was the charcoal ground, pulverized; and a rather thick coating [of paste] was spread on the surface of the beeswax.

And when it was so prepared, again a covering was placed over it, to wrap, to envelop completely the [thus far] completed work, in order for the gold to be cast. This covering was also of charcoal, also mixed with clay-not pulverized but relatively coarse. When the mold was thus covered, thus completely enveloped, it dried for another two days, and then to it was affixed what was called the anillotl, likewise of beeswax. This would become the channel for the gold, for it to enter there [into the mold] when it was molten. And once more [the mold] was laid out; it was placed [in] what was called the crucible [a charcoal brazier], also made of charcoal [and clay] hollowed out. Then thus was the melting. The charcoal fire was laid. There the gold was placed in a crucible; it was melted, so that then it entered into the channel [in the mold], there to be led along, flow, spread out into the interior.

And when it was cast, whatsoever kind of necklace it was which had been made- the various things here mentioned - then it was burnished with a pebble. And when it had been burnished, it was in addition treated with alum; the alum with which the gold was washed [and] rubbed was ground. A second time [the piece] entered the fire; it was heated over it. And when it came forth, once more, for the second time, it was at once washed, rubbed, with what was called “gold medicine.” It was just like yellow earth mixed with a little salt; with this the gold was perfected; with this it became very yellow. And later it was polished; it was made like flint, to finish it off, so that at last it glistened, it shone, it sent forth rays.

It is said that in times past only gold [was known to] exist. It was taken advantage of. The goldworkers cast it; they made it into necklaces, and the goldbeaters hammered it, flattened it, into the devices which they required. Silver was not yet in use, though it existed; it appeared here and there. It was highly valued. But today, on the other hand, all is silver; they want gold; it is much treasured.

The goldcasters and beaters who work now also require copper, though only a little, a measured amount. They add it to silver [solder] to give it binding power, to make it adhere. For if only silver were melted [to use as solder], the article joined would only shatter; it would only break [at the seams]. There where the article was soldered, [the seams] would not everywhere bind [and] come together.

And the goldbeaters, in times of old, hammered only gold. They smoothed it, they burnished it, with a stone, and they worked out a design along a black line with a stone. First the feather workers made them a design, and then they chased the design with a flint knife [as a tracer]. They followed the black line to form the design with a flint knife. They embossed it, they went making relief work, copying just as was the [black line] pattern. In the same way they manufacture objects today, wherever their work is needed. Perhaps feather mosaic [or other] feather work is required. [The goldworkers] join with [and] are instructed by the feather workers who cut all manner of feather work which may come their way.

Today the goldworkers work thus. They require sand - fine sand. Then they grind it, they pulverize it well; they also mix it with potter’s clay. Then they set it out [in the sun], in the very same manner as they form the clay so as to bring forth, to cast, whatsoever they would make. And in two days it is dry.

When it is well dried, then with a potsherd the surface is rubbed, smoothed, polished, burnished, shined, so that the surface is smoothed. Then it is carved - sculptured - with a metal knife, as is told elsewhere. In either two or three days [the work] is finished, made good, perfected.

When [the core] is prepared, then powdered charcoal paste is spread on its surface, and the surface is made smooth with a clay paste. Then the beeswax is melted; it is mixed with white copal, as was mentioned. When cooled, when purified, then it is flattened, rolled out on a flat stone with a piece of wood. Forthwith it is placed upon- joined to- the clay object to form the shape of the gold, whatsoever is to be made, perhaps a jar or an incense burner, which they call perfurmador. It is painted; it is designed with a beautiful design.

They especially esteem beeswax; they use it especially to form patterns, to produce works of art. But first, somewhere, a model of beeswax is made. When it has been well prepared, the mold is pressed upon it [to make the wax model]. For there is a model [in wax] of all they make, whether birds’ wings, or flowers, or leaves of plants, or whatsoever beautiful design.

By means of a small wooden stick, called a thorn stick, [the wax] is pressed on; it is made to adhere [to the core of the mold]. In perhaps two days it is perfected; it is made good.

When it has been prepared, when in all places the [modeled] beeswax has been made to adhere [to the core], then on its surface is spread [a thin paste of powdered charcoal]. When it is dried, then in addition a covering is placed upon it, of only coarse charcoal [and clay], in order to envelop the model [of wax with its coating of powdered charcoal paste]. In perhaps two days it dries. Then to it is placed the beeswax channel, called the round anillotl. First it is rounded. This becomes the channel for the gold, for it to enter there.

And when the channel has been set in, once more [the mold] is arranged [in) something like a crucible where the gold is [to be] cast. When they are this far, when all is prepared, then [the mold] is placed on the fire; it is thoroughly heated. Then flows out burning the beeswax [model] which has been placed within it. When the beeswax has come forth, when it has burned, then [the mold] is cooled, for which purpose it is once more set out over sand, quite coarse sand. Then immediately the casting takes place; there [the mold] enters the “fire pot” [a charcoal brazier]“ on a charcoal [fire] ; and the gold, which is to enter there [into the mold], is melted separately in a ladle [and poured].

Here this ends; thus the work is finished. And when the piece has been formed, when it has been cast, when it comes forth, then it is treated with alum; in a copper vessel it is boiled. And if somewhere the piece has cracked, has split, that is the time to mend it. That which is to be joined [soldered] is mended. And then it is rubbed so that like copper it shines. Once more it goes into [and] is treated with alum. So thereafter it is cleaned; it is made like flint, so that it glistens brightly.