solomoni

7

Two books for sale:

Solomon’s Clavis (2008, Society of Esoteric Endeavour). Quarter sheepskin leather/cloth. Fine condition. £420.

The Consecrated Little Book of the Black Venus (2007, Waning Moon). Quarter goat leather/paper. Very scarce edition - some rubbing on cover paper, reflected in price, but fine in all other respects. This is my contributor’s copy, and it pains me to part with it, but I can include a certificate of provenance if you wish. £360.

Prices exclude freight. Send me a PM or convo is interested!

Say You Won’t Let Go

Song from Rowan’s perspective about meeting Aelin. Falling in love with her, and their life post-TOG Intertwined with Lyrics to Say You Won’t Let Go. Hope y’all love it!!

–Say You Won’t Let Go–  

Songwriter credit: Neil Richard Ormandy / James Arthur / Steve Solomon

I met you in the dark, you lit me up
You made me feel as though I was enough

Rowan had been a broken male when he met Aelin. His wife and unborn child had been murdered, and in that vacuum of despair, he had sworn the rest of his life away in the service of Maeve. He had given up on everything and resigned himself to be used as a tool for destruction. What was the point in hoping for anything better?
But then, he had met Aelin. She had been as lost and broken as he had. Rowan was assigned to train her by Maeve. Maeve had known that he and Aelin were mates. No doubt she had received sick pleasure in dangling them in front of each other.

Slowly, over time, they came to trust each other. Trust turned to friendship, friendship turned to love.

 

 

We danced the night away, we drank too much
I held your hair back when
You were throwing up

Then you smiled over your shoulder
For a minute, I was stone-cold sober

 

The night of Aelin’s first burnout during Beltane, Rowan had been observing Aelin’s power to hold the flames steady. There was dancing, drinking, revelry, going on all around them. Rowan had found himself so attracted to Aelin that night that he barely noticed any of it. Until the strong woman he had been admiring and coaching became bewitched by the flames and the music. Her body and her power were no longer her own. He had lost her.

Instructed by the healers, he continuously cooled her off, over and over again. He placed freezing cold rags on her head to try and bring her back from the Hell that she had created inside her own body. He gently asked her questions each time he dispensed new rags and then had gone to fetch a tonic.

When Rowan returned he saw her back. More specifically, he had seen the scars on her back where her flesh had been torn from her young body. The shock and anger at seeing those healed wounds hit him like a physical blow. He had gaped. Rowan, who had killed hundreds of men, seen vicious wounds on the battlefield, found himself speechless.  


I pulled you closer to my chest
And you asked me to stay over
I said, I already told ya
I think that you should get some rest

 

Rowan had flown for hours after that. He was so angry at the nameless, faceless guards of Endovier. And at Maeve. And more than the rest, angry at himself for not being more approachable so she could have felt safe telling him. He had to do something. That woman deserved better in this world. And he could treat her better.  

He returned to Mistward, scooped her up, and took her into his own room. Into his own bed. No ulterior motives. He wanted her to feel safe. He wanted her to know that he cared about the terrible things that had been done to her and that she had almost died earlier that night. He needed her to know that she mattered to him.

She stretched out her hand towards his; he was at the edge of the bed, showing that he was a gentlemale. She told him her entire story, finally stopping as she was nodding off. He held her hand the whole night.

I knew I loved you then
But you’d never know
‘Cause I played it cool when I was scared of letting go

Aelin had bargained for Rowan’s freedom. He could never have even hoped for a gift such as the one she had given him. He had never hoped for freedom. He had never hoped to love again. Yet here he was. He had fallen in love with Aelin.  He swore a blood oath to her immediately for her protection. And because a primal part of him wanted to always be needed by her. Even if she didn’t feel the same as him; even if he could never be the kind of male a queen deserved, he could still be useful to her in other ways.

And just like that, she was on a boat back to Adarlan. And she was not letting him go along. And it hurt so very badly. But he respected her and her wishes. He would repair Mistward and await word from her.

I know I needed you
But I never showed
But I wanna stay with you until we’re grey and old
Just say you won’t let go
Just say you won’t let go

 

They were married in a small ceremony on a boat later that year in the middle of the War. Only Aedion and Lysandra and the ship’s captain had been present. Two days later Maeve had kidnapped Aelin, thrown her in an iron coffin, with chains and a mask to contain her power.
Rowan had found her, his old cadre had risen up against Maeve. Aelin had died to fulfill the prophecy of the gods. Rowan gave up his immortality in exchange for Aelin to come back. It had been an easy choice. What would life be like without his Fireheart? It would be hell.  

I’ll wake you up with some breakfast in bed
I’ll bring you coffee with a kiss on your head
And I’ll take the kids to school
Wave them goodbye

 

 

Rowan and Aelin did not know if they would ever be blessed with children. They knew that due to both of them having fae heritage, the odds would not be in their favor. Additionally, the terms of Rowan’s bargain were nebulous, as deals with gods always are; while he and Aelin were no longer immortal, they also had no way of knowing if they would have short, normal, or longer lifespans.

After five years of making love whenever they felt like it, they were delighted to find out that Aelin was with child.  Rowan was excited yet so scared. When Aelin birthed their daughter, Nehemia, Rowan cried tears of joy. Aelin was exhausted but had never been so happy. She felt proud that after so many years of taking lives and destroying, she had created something so innocent and precious.

Rowan scooped up the tiny, chubby cheeked babe, brought it up to his chest, and breathed in her scent. He and Aelin had created this perfect new life. Gods his life had changed so much in the past 7 years.

7 years later Nehemia was a wonderful older sister to 3 year old Gavin. Rowan couldn’t believe how lucky he was. How he had now been blessed three times over by his wife and their children. He often thanked Mara for her protection and blessings, even though the gods had left when Erawan had been banished.  He never thought he would have the opportunity to wake up to his children laughing. To his wife’s beautiful body draped over him in the morning.


And I’ll thank my lucky stars for that night

When you looked over your shoulder
For a minute, I forget that I’m older
I wanna dance with you right now

 

Rowan and Aelin were at a ball celebrating the birth of a new princess in Eyllwe.  He approached Aelin from behind, her scent filling his nostrils. He nuzzled the crown of her head, “I love you, Fireheart”
Aelin reached back to bring Rowan’s arms around her torso.

“I love you buzzard” she arched her neck to the side and lifted her head to receive a kiss. Rowan obliged.

“May I have the next dance?” Rowan asked, pulling her close and kissing her delicate neck skin. “And the dance after that.” Another kiss. “And  after that, and I think you get the idea.” He twirled her around to face him.

Aelin tried to keep a straight face, tried to not let everyone see how much her mate had gotten her all worked up. At this rate they would need to excuse themselves to ‘freshen up.’ She pursed her lips together, and clicked her tongue. “Well, as you may know, as Queen, I don’t like to play favorites, but I’ll make an exception for you,” she winked at him, kissed him, and lead him out to the dance floor.


Oh, and you look as beautiful as ever
And I swear that everyday you’ll get better
You make me feel this way somehow

I’m so in love with you
And I hope you know
Darling your love is more than worth its weight in gold

Nehemia and Gavin were adults now. Nehemia had found love with a Prince from Briarcliff, while Gavin was studying healing and learning to control his water magic in Banjali.  Rowan and Aelin were beginning to age. Aelin would pause by the mirror on occasion, in disbelief that she now had 4 grey hairs and some fine lines. Rowan thought she had never looked more beautiful. She now possessed the kind of beauty that comes with age, with living . Fine lines forged in loving and crying and laughter. Lines created by days in the sun with their children and friends. Grey hairs from the privilege of growing older.  His mate didn’t always agree. “You’re biased! You’ve always had white hair so of course you don’t mind it!” Aelin shouted from the bathroom one night before bed. Rowan just chuckled. And when she came to bed that night, he worshipped her like he did when they were first together. He worshipped her from her toes all the way up to her grey hairs.

We’ve come so far my dear
Look how we’ve grown
And I wanna stay with you until we’re grey and old
Just say you won’t let go
Just say you won’t let go

 

There was no denying it. The King and Queen of Terrasen were approaching the end of their lives. Gavin would be a fair and just ruler. Nehemia was a consort in her own court and as such, the right to rule had passed on to her brother.  

Rowan had slowly begun to shrink the past few years. The frailty of aged bones and a lifetime of being a warrior catching up with him.  He and Aelin would walk in the Orynth courtyard on days when they felt up to it. Gavin had secretly been installing more benches as his parents needed to rest more and more often.

One Spring morning, they sat down on one of these new benches to take a rest.

Rowan turned to Aelin, a clarity in his eyes that was no longer always present. “Aelin. Have I ever thanked you for saving my life?”

Aelin took her husband’s hands into her papery hands. She sat there for a moment trying to guess what he meant, trying to feel it with her soul, as they so often were able to communicate. She gleaned nothing. “You gave up your immortality for me and to save me from death.” She responded, her long grey hair blowing in the breeze.

Rowan’s voice was quiet, “I wasn’t living until I met you Aelin. I was existing. I was skin. I was bones. But I was not alive. Thank you for giving me two wonderful children and for giving me a lifetime of love.” He squeezed her hand, and moved in to kiss her on her cheek.

Tears slid down Aelin’s timeworn face. “Oh Rowan. You saved my life long before you saved me from Limbo. You saved me from that pit of self-pitying hell I was in back at Mistward. I say, we’re even.” Alin smiled, lifting up their joined hands and kissing Rowan’s.

“To whatever end?” Rowan asked.

“To whatever end” Aelin replied. More tears were building up in her eyes and she did not need to ask what he meant.

I wanna live with you
Even when we’re ghosts
‘Cause you were always there for me when I needed you most

I’m gonna love you till
My lungs give out

Aelin was alive. And yet she was not.

The King of Terrasen, Rowan Whitethorn Galathynius, had passed away in his sleep the night before. The household woke to Aelin howling like an animal.

“Rowan!!!! Ro—–wan!!!!” wailed over and over again. Aelin was in the bed with him, lying next to him, shaking his body gently.  Even though she knew in her heart and soul he was going to die soon, even though she knew that he had been preparing for it, she still did not believe it. Her mate was dead. Her heart was breaking. It was broken. Her chest physically ached. She did not want to live without him again. She could not breathe, she did not want to breathe, she could not do th……..


I promise till death we part like in our vows
So I wrote this song for you, now everybody knows
‘Cause now it’s just you and me till we’re grey and old

Just say you won’t let go
Just say you won’t let go

Just say you won’t let go
Oh, just say you won’t let go

 

And just like that, Aelin faded into the Afterworld. There was no pain. There was only warmth. And the smell of pine and snow.

The fashion item with perhaps the most romantic history is the handkerchief. This symbol of love and femininity has been the basis of many traditions throughout a very long history. Historical evidence reveals handkerchiefs being included in dowries, bequeathed in wills, and reported as “missing” in official police documents. It’s amazing that an item that had such a practical beginning could have acquired such sentimental meaning.


History of The Handkerchief

Handkerchiefs were not mentioned much prior to the 14th century, but the few references we have state that they have been used for more than just wiping noses. They have been worn on the head, veiled faces, covered mouths to protect from stench and disease, and been waved in greeting. In Pathos, Cypress, people make wishes and hang handkerchiefs on the tree at the entrance to Agia Solomoni Church.

During the Middle Ages, a lady who gifted a man the “couverchef” on her head marked him with her favour. A knight would don his lady’s handkerchief for good fortune in battle. The pocket handkerchief is thought to have been invented by King Richard the II of England, who reigned from 1377 to 1399.

In 1536, King Henry VIII and his wife Anne Boleyn were watching a tournament when Anne’s handkerchief fell onto the field during a pass. One of the combatants picked it up, wiped his brow with it, and handed it back to her, infuriating the king, who stalked away.

The handkerchief became a symbol of wealth and social status in European society, especially in the courts of Italy and France. Handkerchiefs were richly and intricately decorated, a must-have fashion accessory. The dainty pocket handkerchief apparently made its debut when a Venetian lady made a square of pure flax and decorated it with a lace edge. She displayed her handmade creation in a gathering in a garden. Her creation attracted a lot of interest and many ladies then copied her. To better display their handkerchiefs, women wore them draped across their arm or held in their hand rather than tucked away in a pocket.

During the 16th century, tobacco made its way into Europe. By the 17th century, ladies were taking snuff but were bothered by the brown stains on their noses. The handkerchief had a new job. Coloured handkerchiefs came into fashion because they could better hide the brown stains than dainty white handkerchiefs.

Until the 18th century, handkerchief shapes were frequently round, oblong, or square. Marie Antoinette claimed that the square handkerchief was most practical and raved over its beauty. Louis XVI then issued a mandate requiring that handkerchiefs be square, setting the precedent that remains to this day.

It was said that during Napoleon’s reign, Josephine would hold a handkerchief to her mouth to show disapproval when speaking to the lower classes. Eventually, the handkerchief’s popularity spread beyond the upper classes to the commoners and to the New World. Colonial women began carrying square, lacy handkerchiefs that were essential to complete an outfit.

By the 20th century, men adopted the handkerchief as a social status symbol. The left breast suit pocket was developed to showcase a man’s handkerchief tucked in and showing just the top edge. A man’s outfit was not complete without this final touch.


Victorian Handkerchief Codes

In the Victorian era, young couples developed a way to covertly communicate without arousing the suspicion of their chaperones. The way in which a woman handled her handkerchief spoke volumes:

   Drawn across the lips… “We should meet.”
   Held to the left cheek… “No.”
   Held to the right cheek… “Yes.”
   Drawn across the forehead… “We are being watched.”
   Thrown over the shoulder… “Follow me.”
   Drawn across the cheek… “I love you.”
   Drawn through the hands… “I hate you.”
   Dropping it… “We should be friends.”
   Folding it… “I wish to speak with you.”
   Winding it around the middle finger… “I am married.”

In his 1877 publication “Secrets of Life Unveiled,” Daniel R. Shafer wrote, “The handkerchief, among lovers, is used in a different manner than its legitimate purpose. The most delicate hints can be given without danger of misunderstanding, and in ‘flirtations’ it becomes a very useful instrument. It is, in fact, superior to the deaf and dumb alphabet, as the notice of bystanders is not attracted.”



Wedding

Traditionally, the handkerchief has been associated with love, so it’s no surprise that wedding traditions have arisen featuring the handkerchief. The monogrammed bridal handkerchief came from the tradition of young brides stitching their initials onto their handkerchief and their future husband’s surname.

Irish brides would carry a handkerchief up their sleeve to symbolise their faith that babies would be born to the union. If the first baby was a girl, the handkerchief would be transformed into a baby’s bonnet and the stitches later undone for the daughter’s own wedding.

In China, couples exchange new red handkerchiefs that have mandarin ducks as a symbol of monogamy.

In Greece, the newly married couple dances a traditional handkerchief dance in which they each hold an end of a handkerchief before inviting the wedding guests to join them on the dance floor.

Belgian brides carry a handkerchief embroidered with her name. The bride’s parents then frame the handkerchief and display it on the wall.

In the United States, the bridal handkerchief is passed from mother to daughter. A bride who cried on her wedding day is believed to never cry during her marriage. This developed from a farmer’s belief that a bride’s tears were lucky and would help their crops grow.


The handkerchief as a practical object gradually disappeared from use with the invention of disposable tissues in the 1950s under the slogan “Don’t carry a cold in your pocket.” Yet, the handkerchief lives on in tradition and in the hearts of romantics everywhere who still value the comforting utility of a square piece of cotton softened over countless washes, charming faded prints, and the faint scent of a loved one’s perfume clinging to the threads.

Artwork: Godspeed, by Edmund Blair Leighton.

Minor Lines

There are a number of minor lines that also need to be looked at when reading a palm (figure 34). No one will have all of these lines. In fact, as mentioned earlier, some people have only three lines on their palms.

However, we do want minor lines on the hand. People who have only two, three, or four lines on their palms take life exactly as it comes and do not stop to pause, think, or reflect.

Obviously, when reading a palm, we do not look at every single line. Most of the smaller lines are caused by stress and tension. This is why a nervous, high-strung person will have many more lines on his or her hands than someone who is more relaxed and casual about life.

A. Girdle of Venus
F. Rascettes
K. Children Lines
B. Hepatica
G. Via Lasciva
L. Travel Lines
C. Sun Line
H. Medical Stigmata
M. Intuition Line
D. Ring of Solomon
I. Family Chain
 
E. Sympathy Line
J. Relationship Lines
 

Girdle of Venus

The girdle of Venus (A) is a fine line that lies between the heart line and the fingers and parallels the heart line for part of its length. The presence of this line heightens the sensitivity and emotions of the person. This can sometimes create a difficult life because everything that happens will affect this person at an emotional level. People with this line benefit if they have some sort of creative outlet, because they can then channel their emotions into their creativity. People who do this often produce works of an extremely high standard.

Hepatica

The hepatica (B) is often known as the health line. It is also frequently known as the line of Mercury. The hepatica runs diagonally across the palm from inside the life line, close to the wrist, and crosses the palm to end close to the start of the heart line. It is not as clearly marked as the four major lines.

Interestingly, it is better not to have this line. People without a hepatica enjoy excellent health, and recover quickly from any illness.

If this line is present it should be clear and well marked. This is also a sign of good health and shows that the person is paying attention to his or her physical body.

The hepatica can also be an indication of longevity. When it virtually crosses the palm it is a sign that the person will pay attention to health matters and will probably outlast most of his or her contemporaries.

Most hepaticas show ups and downs in quality, indicating times of ill health. This need not necessarily be a disease. The person may simply be suffering from a loss of energy or a prolonged period of indifferent health.

Islands on the health line usually relate to digestive problems. I have seen a simple change in diet do wonders to the quality of people’s health lines.

Breaks in the hepatica mark periods of ill health. This can usually be dated by looking for periods of weakness in the life line.

A square is a good sign to see on the health line. It means that the person is being protected during the period that the line is covered, and will enjoy a complete recovery from the illness or disease.

Sun Line

The Sun line © is a line that runs parallel to the destiny line for part of its length. It finishes close to, and under, the mount of Apollo. Consequently, it is frequently known as the line of Apollo. Ideally, it should be almost as long as the destiny line, but this is extremely rare. It usually starts close to the head line and runs up towards the third finger.

People blessed with a Sun line are confident, easy to get along with, and have the potential for great success. In fact, much of the time this line appears on the hand only after the person has decided what it is he or she wants to do and is working hard to achieve that goal.

Ring of Solomon

The ring of Solomon (D) is a semicircular line that surrounds the mount of Jupiter  beneath the first (Jupiter) finger. This line gives the person an interest in psychic subjects. It also give the person an intuitive awareness of the needs of others and a desire to serve humanity in some sort of way. Not surprisingly, it usually gives a strong interest in psychology.

Sympathy Line

A sympathy line (E) is found in the same place as the ring of Solomon, immediately below the first finger. However, it is a straight line. People with this have a sympathetic, understanding outlook and approach to life.

Ring of Saturn

The ring of Saturn is a semicircular line that surrounds the mount of Saturn (see chapter 6) beneath the second (Saturn) finger. It is a negative indication that makes it virtually impossible for the person to achieve his or her goals. This can be extremely frustrating, since the person may be on the verge of success and then allow something insignificant to prevent it from happening.

The Rascettes

The rascettes (F), commonly known as the bracelets, are the lines on the wrist immediately below the palm. Gypsies claim that each full bracelet signifies twenty-five years of life. However, you will find that almost everyone has three bracelets. Consequently, they are ignored by most modern-day palmists. It is superstitious nonsense such as this that gave palmistry a bad name in the first place.

Although the rascettes are not taken into consideration for determining length of life, it is worth mentioning that for thousands of years palmists have known that when the top rascette of a woman’s hand arches upwards into the palm she will have difficulties in childbirth. The ancient Greeks knew this, and women with this formation on their hands became vestal virgins at the temples and were not allowed to marry.

Via Lasciva

The via lasciva (G) is a straight line that runs part of the way across the palm, starting two-thirds to three-quarters of the way down the palm from the little finger, and heading across the palm towards the thumb. Occasionally this line is curved.

This line has had a bad reputation in the past and people who had it were believed to be lascivious and willing to overindulge in virtually anything. In fact, one book in my library says that people with the via lasciva in their hands have a “passionate thirst for money” and will lead a “life shortened by excesses.”1

In fact, this line simply means that people who possess it have a strong need for something exciting to look forward to. They often have addictive personalities and need to keep away from alcohol and drugs. It is probably this tendency that gave the via lasciva such a bad name in the first place.

Medical Stigmata

The medical stigmata (H) is a group of three or four tiny vertical lines below the little finger. They are often found slightly offset towards the ring finger.

People with a medical stigmata have an empathy for all living things. Consequently, they make good gardeners, farmers, veterinarians, naturopaths, doctors, and nurses. In fact, they are happy in any career that involves helping others. Naturally, someone who went into one of these careers with the main aim of making money would not have a medical stigmata on his or her hand. Most people with it are everyday people who happen to be talented gardeners, good with animals, or have significant people skills. They might, for instance, know exactly the right words to say to help someone in distress. Whatever these people do, they receive immense satisfaction out of helping all living things. These fine lines are sometimes called “Samaritan lines.”

Family Chain

The family chain (I) is a chain-like line that is found where the thumb joins the palm. (In the next chapter you will see that the family chain divides the second and third phalanges of the thumb.)

If this line is heavily chained, the person will have strong emotional ties with his or her family. Conversely, if this line is thin and unchained, the person will have a lack of emotional involvement with his or her family.

The family chain is read from the first finger side of the thumb. Frequently, you will find a line that is heavily chained at the start but gradually turns into a thin line. This shows that the person has gradually become less emotionally tied to his or her family.

Sometimes you will see a break in this line. This indicates a period of separation from the family.

Relationship Lines

Relationship lines (J) are fine lines that come up the side of the palm between the start of the heart line and the Mercury finger.

Relationship lines are frequently known as “marriage lines.” This is not correct, since the presence of one or more relationship lines does not guarantee a marriage. In fact, these lines simply indicate a strong relationship, which may, or may not, be a sexual one.

I have met a number of married men who have no relationship lines on their hands. This means that the marriage is convenient and comfortable, but is not of great importance to them. I have never met a married woman who did not have a relationship line on her palm.

Ideally, the relationship lines should be clear, well marked and come up the side of the hand and on to the palmar surface. This is an indication of a major relationship that lasts for a long while. A strong line that does not come over the top is a sign of an important relationship that does not last.

The relationship lines indicate a potential. The presence of three or four lines does not necessarily indicate that number of strong relationships. If the first relationship is successful and lasts, the other lines will remain dormant and will not be utilized.

It is possible for these lines to disappear. If you have been in a strong relationship that ended badly, your subconscious mind can erase the line from your hand. However, the trauma will always be visible on your heart line. When you meet another person, a new relationship line will form.

Children Lines

The children lines (K) are fine vertical lines immediately below the Mercury finger. They sometimes overlap the relationship lines.

Once you start reading palms, you will be regularly asked, “How many children will I have?” One hundred years ago it was possible to answer that question, but it is not as easy nowadays.

Thanks to contraceptives we are able to choose when, or if, we will have children. Consequently, on a women’s hand, the children lines show only a potential. She may choose to fulfill her potential, but nowadays most people have two or three children. Strong lines usually—but not always—show the number of children she has. The longer lines are said to indicate boys, and shorter lines girls. You will probably need to use a magnifying glass to determine that sort of information.

On a man’s hand the children lines indicate children he is close to. Consequently, if a man has three children, but is close to only two of them, he will have just two children lines on his hand. This is further complicated by the fact that we can become close to other people’s children. Consequently, a man who has never had children may have children lines on his hands. These could be the children of his partner, nieces or nephews, or any other children he is involved with.

Travel Lines

Travel lines (L) are the fine lines that come up the side of the hand between the wrist and the heart line on the Mercury finger side of the hand.

Although they are usually called “travel lines,” a better name is “restlessness lines,” since they give a degree of restlessness to the person’s nature. Naturally, this inner restlessness frequently leads to travel, which is how these lines derived their name.

People with restlessness lines on their hand need change and variety. They dislike routine and regularity.

Strong lines represent important travel. Usually, the first major trip a person undertakes is considered the most important, and is most clearly marked. If someone travels regularly as part of his or her work, each individual trip would not be shown on the hand. However, this person would have a number of restlessness lines to indicate the desire for travel.

Naturally, an important trip varies from person to person. For someone who lived in a small village, miles from anywhere, a two hundred mile trip to a large city would be more important than a round the world trip taken by a business executive who flies somewhere every month.

Intuition Line

The line of intuition (M) starts on the little (Mercury) finger side of the hand, close to the wrist on the slightly raised mound (mount of Luna) at the base of the hand. It heads in an arc toward the center of the hand (plain of Mars). Usually, this line is only half an inch or an inch long. However, when developed, it can extend down to join the head or destiny lines.

The presence of a line of intuition indicates that the person relies on his or her hunches and feelings. A well-developed line shows that the person has strong intuitive capabilities. He or she may be a natural clairvoyant, medium, or healer.

Naturally, it is possible for someone to be both a clairvoyant and healer. Usually, though, the person will be more talented in one area, than the other. If the line of intuition heads towards the head line, the person would make a natural healer. If it heads towards the destiny line, the person is more likely to be interested in telepathy, clairvoyance, and precognition.

Simian Crease

The simian crease (sometimes known as the “simian line”) is created when the heart line and head line become a single line that runs across the palm . Consequently, logic, and emotion become entwined in a single line. It is found frequently on one hand, but is seldom seen on both.

People with a simian line can be extremely agreeable and easy to get on with, but once their minds are made up, it is impossible to change them. They are inflexible, obstinate, and stubborn. Because the heart line (emotions) and head line (logic) are intertwined, these people find it extremely hard to express their feelings and have highly intense and complex emotional lives.

If the simian crease is found only on the minor hand (the left hand if the person is right-handed) the person will have had a sheltered upbringing and will try to avoid responsibility.

When found on the major hand, the person will be a single-minded, hard-working achiever. However, he or she will also find it difficult to relax and take time off.

When found on both hands, the person will be unusually stubborn and rigid. This can create major difficulties, and people with it need careful direction and guidance from their parents from an early age. The enormous single-mindedness these people possess can be usefully utilized in sporting activities, and in a career that requires precision and little input from others.

People with a simian crease on both hands sometimes find it hard to distinguish right from wrong. Consequently, the person could become a master criminal or, with a slightly different upbringing, someone who helps humanity in some sort of way.

The simian crease is usually found in the hands of Down’s syndrome sufferers. However, most people with it are perfectly normal and are usually highly intelligent.

teammagi  asked:

Aladdin. Sinbad. Ja'far. David (!). Arba. Solomon. For the meme thing. :)

GIVE ME 6 CHARACTERS AND I’LL TELL YOU WHO I WOULD:

go-ride-a-boar:

  • Push off a cliff: Sinbad (he can be such a douche)
  • Kiss: Arba
  • Marry: Ja’far
  • Set on Fire: David (I do not share your love for him ha ha ha)
  • Wrap a Blanket around: Aladdin
  • Be Roommates with: Solomon

I am so torn with Arba and Ja’far so it could be swapped easily.

So one of the most frequent asks I get is about what artbooks I have, so I thought I’d just go over them in a few posts. So this one will be about single film, studio artbooks :) So artbooks focusing on one film from established animation studios.


1 - The Art of UP, Tim Hauser, Pixar

This book has really nice character design. Like, super nice. The layout and environment design is great because it goes into processes a lot but it can get a bit stylised which isn’t always what I gravitate towards. But really really great character design.

READ ME if you like interesting character design and more stylized ways of working

2 - The Art of Ratatouille, Pixar, Karen Paik

I absolutely love this book. The animal designs are gorgeous, and really show fantastic understanding of the way that rats move and how the movement needs to be exaggerated in animation. The character design in general is also very good (Pixar really does interesting character design a lot better than Disney’s 3D stuff) and the layout work and environment design in this book is really, really lovely, because this film really uses fantastic atmospheric lighting and colour.

READ ME if you like warm atmospheres, great use of lighting and cute and really positive character design

3 - The Art of Brave, Pixar, Jenny Lerew

GAH I love this book. There is a really lovely amount of great layout stuff, and it all feels very genuinely scottish and wild. It also has a buttload of Steve Pilcher, one of my favourite artists ever. His work is gorgeous. And the character design in this is also very very strong :)

READ ME if you like art with lots of research, intense atmospheres and environments that really pack a design punch

4 - The Art of Tangled, Disney, Jeff Kurti

Everyone I know who’s read this book adores it. You can really see Glen Keane’s influence on character designs and all the work on characters or featuring characters in environments is just beautiful. Jin Kim and Glen Keane are absolute masters at what they do and the amount of movement and life in these characters is incredible.

READ ME if you like very strong character design, traditional 2D animation and beautiful crafted fairytale environments

5 - The Art of Princess and the Frog, Disney, Jeff Kurti

You can really feel the hardwork and love that went into making this film. The backgrounds and environments are absolutely gorgeous and full of so much life and colour. There isn’t as much character design exploration as I would have liked to see, but oh my goodness, the layouts and the colours are just beautiful. 

READ ME if you like deep, involved environment design, lots of colours in layouts, interesting villains and beautiful lighting

6 - The Art of Frozen, Disney, Charles Solomon

I have a love hate relationship with this book. I love most of the art in it and then get frustrated because the design often doesn’t translate to the film.The character design in this book is beautiful and subtly interesting but you don’t see it in the film and it’s just ughfhhg;uh. The environments are beautiful and seem pretty true to the film and there’s a lot about patterns and decals and how they made the look of the film individualistic and cohesive.

READ ME if you like character designs with amazing potential, character design development, design motifs and some really nice storyboards.

7 - The Art of Wreck-it-Ralph, Disney, Jennifer Lee and Maggie Malone

I LOVE THIS BOOK. Seriously. It’s everything I want in an artbook. Great lively character design and development, a massive array of different landscapes which are created just beautifully and a massive understanding of the film by the artists. This film had art from most of my favourite artists working in the industry atm, and you can tell how much fun they had working with the creative freedom this film allowed. 

READ ME if you like intensely good and lively character design, perfect look development and absolutely beautiful environment and concept art. Buy this book!!!


I’ll post part two in a few days :)

MAGIC CIRCLES IN THE GRIMOIRE TRADITION by William Kiesel (Limited Edition Hardcover)

With the center of the circle as a starting point, orientation can take on precise meaning in the context of its ritual, which was designed to secure spiritual knowledge and material dominion in the world through the agency of spirits, stars and cabalistic arcana.

Magic Circles have been depicted in popular expressions of magic and witchcraft as well as detailed with full rubrics in traditional manuals of magic such as the Clavicula Solomonis or Liber Juratus. Using narrative, visual and textual material available from European grimoires and manuscripts, the author discusses the various forms and functions of this important piece of apparatus employed by magicians in the Western Esoteric Tradition, including their role in providing authority and protection to the operator, as well as examples of their use in divination and treasure finding. Additionally, contemporary examples of the magic circle at work in modern esoteric praxis are provided and discussed in light of the traditional approaches they exhibit. This monograph serves to explicate this important tool of ceremonial magic and is valuable to practitioners of the art magical with its technical data, while also providing context in historical settings for the merely curious reader of occult subjects. Illustrated throughout.

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