Top 5 sights on the road less travelled – Helsinki

Discover Helsinki Beyond the Usual: 5 Hidden Gems to Explore

Helsinki, the vibrant capital of Finland, is renowned for its architectural splendour, vibrant art scene, and serene access to the archipelago. Yet, beyond the iconic Senate Square and the UNESCO-listed Suomenlinna, there’s a trove of offbeat experiences waiting to be uncovered. If you’re eager to venture off the well-trodden path, here are five lesser-known treasures to add to your Helsinki itinerary.


1. Stroll Through the Helsinki Botanical Garden (Kaisaniemi)

Tucked near the parliament building in Kaisaniemi, this haven of greenery offers a tranquil escape from the city’s hustle. Established in 1855, the garden spans 5.6 hectares and features a glasshouse housing over 12,000 plant species from around the world. In summer, the lush herb garden and seasonal flowerbeds are a riot of colour, while autumn brings fiery foliage. A peaceful walk here is the perfect way to appreciate Helsinki’s natural beauty without the crowds.

Pro Tip: Combine your visit with a constitutional at the adjacent Parliament Square (Kanssakuntori) for a slice of Helsinki’s political and ecological charm.


2. Unwind on Ulvila Cathedral Island

Just a short bus and ferry ride from central Helsinki lies Ulvila, a quiet island known for its historic cathedral and serene atmosphere. Once the favoured retreat of Finnish presidents, this hidden gem is accessible via a scenic 40-minute ferry ride. Explore the 17th-century Ulvila Church, stroll through its secluded cemetery, or simply soak in the views of the surrounding archipelago. With no restaurants or shops, it’s a spot to disconnect and reconnect with nature.

Pro Tip: Pack a picnic to enjoy on the island’s rocky shoreline, where the Baltic Sea shimmers under the midnight sun in summer.


3. Shop for Local Crafts at the Kadu Market

Nestled in Helsinki’s Design District (Kadu), the Kadu Market is a weekly pop-up paradise for design lovers. Held every Saturday in the summer and on weekends during winter, this market showcases handmade crafts, vintage finds, and locally sourced Nordic products. From organic skincare to handcrafted jewellery, it’s a vibrant window into Helsinki’s creative community.

Pro Tip: Stay afterwards to explore Kadu’s boutique shops and cafés, like the cozy Apartment 42 café, known for its Instagram-worthy sundaes.


4. Get Lost in the Kiasma Museum of Contemporary Art

Helsinki’s modern art scene is on full display at Kiasma, a striking building designed by American architect Steven Holl. The museum’s ever-changing exhibits blend international and Finnish art, often pushing boundaries with avant-garde installations. Its unique, glass-clad structure and spiral layout make it a visual treat, while the free guided tours (in multiple languages) offer deeper insights into the works.

Pro Tip: Visit during the museum’s opening hours (weekends often have extended hours) to fully absorb the atmosphere without the weekday rush.


5. Picnic in Rastila Park, Helsinki’s Oldest Public Park

Founded in 1838, Rastila Park is a green oasis nestled between the Baltic Sea and Helsinki’s city centre. This lesser-known park is ideal for solo walks, family outings, or a quiet picnic on its grassy lawns. The park’s modest charm lies in its simplicity—think ancient trees, children playing on the playground, and the distant hum of the city. It’s a rare spot where Helsinki’s past and present coexist harmoniously.

Pro Tip: Pair your visit with a stop at Kahvila Rastila, a nearby café serving excellent Nordic-inspired dishes.


Final Thoughts

While Helsinki’s landmarks are undeniably captivating, these hidden spots offer a more intimate and personal experience of the city. Whether you’re wandering through a historic island, discovering modern art, or simply relaxing in nature, these destinations showcase Helsinki’s diversity and depth. Pack your curiosity, embrace the unexpected, and let the road less travelled reveal itself.

Ready to explore Helsinki beyond the usual? These five spots are waiting to become your favourite stories.

“The Things we do for Love”, the story behind the story

This story has been ongoing since I was seventeen, and just to let you know, I’m 72 this year.

Yes, it’s taken a long time to get it done.

Why, you might ask.

Well, I never gave it much interest because I started writing it after a small incident when I was 17, and working as a book packer for a book distributor in Melbourne

At the end of my first year, at Christmas, the employer had a Christmas party, and that year, it was at a venue in St Kilda.

I wasn’t going to go because at that age, I was an ordinary boy who was very introverted and basically scared of his own shadow and terrified by girls.

Back then, I would cross the street to avoid them

Also, other members of the staff in the shipping department were rough and ready types who were not backwards in telling me what happened, and being naive, perhaps they knew I’d be either shocked or intrigued.

I was both adamant I wasn’t coming and then got roped in on a dare.

Damn!

So, back then, in the early 70s, people looked the other way when it came to drinking, and of course, Dutch courage always takes away the concerns, especially when normally you wouldn’t do half the stuff you wouldn’t in a million years

I made it to the end, not as drunk and stupid as I thought I might be, and St Kilda being a salacious place if you knew where to look, my new friends decided to give me a surprise.

It didn’t take long to realise these men were ‘men about town’ as they kept saying, and we went on an odyssey.  Yes, those backstreet brothels where one could, I was told, have anything they could imagine.

Let me tell you, large quantities of alcohol and imagination were a very bad mix.

So, the odyssey in ‘The things we do’ was based on that, and then the encounter with Diana. Well, let’s just say I learned a great deal about girls that night.

Firstly, not all girls are nasty and spiteful, which seemed to be the case whenever I met one. There was a way to approach, greet, talk to, and behave.

It was also true that I could have had anything I wanted, but I decided what was in my imagination could stay there.  She was amused that all I wanted was to talk, but it was my money, and I could spend it how I liked.

And like any 17-year-old naive fool, I fell in love with her and had all these foolish notions.  Months later, I went back, but she had moved on, to where no one was saying or knew.

Needless to say, I was heartbroken and had to get over that first loss, which, like any 17-year-old, was like the end of the world.

But it was the best hour I’d ever spent in my life and would remain so until I met the woman I have been married to for the last 48 years.

As Henry, he was in part based on a rebel, the son of rich parents who despised them and their wealth, and he used to regale anyone who would listen about how they had messed up his life

If only I’d come from such a background!

And yes, I was only a run away from climbing up the stairs to get on board a ship, acting as a purser.

I worked for a shipping company and they gave their junior staff members an opportunity to spend a year at sea working as a purser on a cargo ship that sailed between Melbourne, Sydney and Hobart in Australia.

One of the other junior staff members’ turn came, and I would visit him on board when he would tell me stories about life on board, the officers, the crew, and other events. These stories, which sounded incredible to someone so impressionable, were a delight to hear.

Alas, by that time, I had tired of office work and moved on to be a tradesman at the place where my father worked.

It proved to be the right move, as that is where I met my wife.  Diana had been right; love would find me when I least expected it.

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Top 5 sights on the road less travelled – Capri

Discovering the Hidden Gems of Capri: 5 Off-the-Beaten-Path Experiences

Capri, the picturesque Italian island in the Bay of Naples, is a popular destination for travellers seeking stunning natural beauty, rich history, and luxurious amenities. While many visitors flock to the island’s famous Blue Grotto and bustling town centre, there’s more to Capri than meets the eye. For those willing to venture off the beaten path, the island offers a treasure trove of unique experiences waiting to be uncovered. In this blog post, we’ll explore the top five alternative things to do in Capri, taking you on a journey to discover the island’s lesser-known charms.

1. Hike the Sentiero dei Fortini: A Scenic Trail with Breathtaking Views

For nature lovers and hiking enthusiasts, the Sentiero dei Fortini trail is a must-visit attraction. This scenic path winds its way along the island’s rugged coastline, offering breathtaking views of the Mediterranean Sea and the surrounding landscape. The trail is dotted with historic fortifications, including the 19th-century Fortini, which provide a glimpse into Capri’s fascinating military past. As you hike, keep an eye out for the island’s unique flora and fauna, including the rare Capri bee orchid.

2. Visit the Certosa di San Giacomo: A Serene Oasis in the Heart of Capri

Tucked away in a quiet corner of the island, the Certosa di San Giacomo is a 14th-century monastery that exudes peace and tranquillity. This former Carthusian monastery is now a museum, showcasing an impressive collection of art and artifacts, including works by local artists and stunning examples of medieval architecture. The monastery’s beautifully manicured gardens and tranquil courtyards provide a serene oasis, perfect for escaping the hustle and bustle of Capri’s town centre.

3. Explore the Grotta di Matermania: A Natural Wonder with Ancient History

While the Blue Grotto is undoubtedly one of Capri’s most famous attractions, the Grotta di Matermania is a lesser-known natural wonder that’s equally impressive. This ancient Roman cave is filled with stunning rock formations, crystal-clear waters, and a unique array of marine life. According to legend, the grotto was once a sacred place of worship, and its mystical atmosphere is still palpable today. Visit the Grotta di Matermania for an unforgettable experience that combines natural beauty with ancient history.

4. Discover the Villa Jovis: A Ruined Roman Palace with a Rich History

Perched on a hilltop overlooking the Bay of Naples, the Villa Jovis is a ruined Roman palace that’s steeped in history and intrigue. Built in the 1st century AD, this ancient villa was once the summer residence of the Roman Emperor Tiberius, and its impressive remains offer a fascinating glimpse into the island’s imperial past. As you explore the villa’s crumbling ruins, keep an eye out for the stunning views of the surrounding landscape and the sparkling Mediterranean Sea.

5. Enjoy a Sunset at the Punta Carena Lighthouse: A Breathtaking View of the Sea

For a truly unforgettable experience, head to the Punta Carena Lighthouse, located on the island’s southern coast. This picturesque lighthouse is one of the oldest on the Amalfi Coast, and its stunning views of the Mediterranean Sea are simply breathtaking. Watch the sunset from the lighthouse’s scenic viewpoint, and marvel at the kaleidoscope of colours that dance across the sky. As the stars begin to twinkle, the lighthouse’s tranquil atmosphere is the perfect place to unwind and reflect on your Capri adventure.

In conclusion, Capri is more than just a popular tourist destination – it’s an island with a rich history, stunning natural beauty, and a wealth of hidden gems waiting to be discovered. By venturing off the beaten path and exploring the island’s lesser-known attractions, you’ll experience the authentic charm of Capri and create memories that will last a lifetime. So why not take the road less travelled and discover the real Capri?

Writing a book in 365 days – 336

Day 336

Writing exercise – Everything she could see from the room she never left was beautiful.

It was Princess Elizabeth’s bright, sunny disposition that gave her the ability to see the good in everything.

Or so someone had said, a long time ago, so long she could not remember who said it or when it was.

What she did know was that it was good advice.

Why, when she knew that she might never leave that room, at the top of the north tower, the one that overlooked the gardens, the lake, the valley and then the sea.

On a good day, she thought, I could see forever.

On a bad day, not that there were many, she could just barely remember how she finished up in that room in the north tower.

But on the periphery of her memory was a story…

The Princess Matilda had arrived from a Kingdom across the ocean, a land they had never heard of before, seeking a Prince’s hand in marriage, and she was visiting the seven kingdoms that made up the realm.

Her kingdom was the last, and her brother Prince Joshua was seeking a Princess bride, and Matilda was perfect.

What they didn’t know was that Princess Matilda was not quite who she said she was.  It was not long before her brother became ill, and when none of the healers in the kingdom could save him, Princess Matilda told them of a prophecy that foretold of a great sickness that would spread through the realm, and that the only way it could be stopped was to ensure that Princess Elizabeth never left the castle.

Of course, no one believed it, not until people in the kingdom succumbed to the same ailment that the Prince was suffering from.

So, when the people started to die, the King had no choice.  The Princess Elizabeth was confined to a room in the north tower, and then people recovered.  No one knew why it was, only that her confinement had saved the people.

Some years passed before one day the Princess Matilda came to visit her.

She came into her room and sat down.  Elizabeth stayed by the windows.  It was only the second time she had been face-to-face with Matilda, who had deliberately stayed away from her.

“Are you not afraid you will get sick?”

She knew the reason why she was confined, but never understood why she was not sick herself.

“No.  It does not affect me.  In fact, you are not the reason people are getting sick.  That was just a spell I cast to make them believe you are the cause.”

Elizabeth did not understand why she would say that.  “A spell?”  She was equally unaware of witches and witchcraft, though it was said that witches once existed in the realm a very, very long time ago.

“Yes.  A spell.  It was necessary to do what I have done to make sure you do not cause trouble.”

“Why would you think that?  I have no intention of doing anything except marrying a Prince and living happily ever after.”

“That’s the problem.  If you marry a Prince and have children, they will become witches or warlocks, very powerful and dangerous sorcerers.  You were the last of the line, and we have to contain your powers.”

“I have no powers.”

“Not in this room.  It is a special room that keeps you from using any spells or exerting any influence.”

“Are you a witch?”

“A good witch, assigned by the Wizard to ensure we do not slip back into the old ways.  You will be here until you die.  So will I.”

“So I can never leave here?”

“No.”

Elizabeth thought that was harsh, and was going to say something, but then realised that a sudden, random thought just entered her head, one that told her there was a means to escape.

Not exactly how to, but that Princess Matilda knew, but wasn’t going to share.

“You cannot be killed, but you will eventually die.  When that happens, I will be free.  This is as much torture for me as it is for you.”

“It is not torture.  I have a comfortable room and a splendid view.  And I do not have to marry a horrible Prince.  What more could a princess ask for?”

Her cheery manner was too much for Matilda, and she left in a grumpy mood.

Many years passed.

Elizabeth realised that she was not aging as fast as her family members, or Princess Matilda.

Something else she noticed was the fact that outside the door to her room,  Princess Matilda looked quite old, as old as her brother, now the King of their kingdom, but inside the room, as old as her parents had been when she was first confined.  Elizabeth herself had hardly aged at all.

It was as if she had eternal youth.

And she was sure that was what angered Matilda.

Over the years, she had been working on how she was going to get to the secrets locked away in Matilda’s head.

At first, when she tried to read her mind, Matilda knew straight away.  Not that she said anything, so Elizabeth had to be smarter.

She practised reading the minds of those who walked in the gardens below, at first amazed that she could, considering Matilda told her her powers were useless in that room.

That wasn’t entirely true.

And as the years passed, she began to realise that she had some powers, and that it was possible to move objects, make objects appear or disappear, and make objects invisible.

She also realised that she could plant ideas into those people below, and get them to do her bidding.  It was not horrible things, she could not and would not want to harm anyone, but she did want to stop whatever it was Matilda was going to do.

She had finally realised that Matilda was not the good witch that she portrayed herself as, bur a bad witch, who slowly, over time, was turning the people against her brother. 

This culminated in Princess Matilda’s latest visit, the seventh anniversary of her confinement, the visits being once every ten years.

Matilda swept into the room and sat in her usual chair.

“You are looking old, Matilda,” she said, with no malice in her tone. 

Her bright and cheerful disposition annoyed Matilda

“You are fortunate I cannot kill you.”

To Elizabeth, it seemed an odd thing to say.  A clue perhaps that Matilda’s powers were waning.  She had felt a shift in the atmosphere of her room.

“That would be the act of a bad witch, which you claim you are not.”

“That is true.  Forget I said that.  There’s a blizzard coming, and we did not get enough grain in storage to last the winter.  It’s going to be hard.”

“You could use your powers to stop the storm.”

Matilda glared at her.  “What would you know of such things?”

“Just random thoughts.  My mother used to recite stories of the old days when a grand Wizard ruled the realm.”

Fairytales.  Of course.  Did she tell you of the bad things that happened to the good witches and warlocks?”

“I don’t believe there was good and bad then.  What there was, I believe, was greed, lust, and the desire for malevolent power.  Instead of sharing the wealth and goodness, some people wanted it all for themselves and made the people their slaves.  Is that not what is happening now?”

Matilda looked at her curiously.  “You know this how?”

“I can see.  I can hear the people who bring me things.  I can feel a change in the atmosphere.  It is hard not to feel the people’s pain.  You are planning something evil.  It is the only explanation.”

She stood suddenly, her cheeks flushed front anger.

“I am not.  We are preparing for the winter solstice sacrifice to the Gods so that we will survive this harsh weather.  Enough.”

She flounced out of the room, the door slammed shut, and the bolts were driven home.

Where Elizabeth should have been dismayed, she was not.  Her plan had succeeded far beyond her expectations.

She knew how to defeat Princess Matilda.

Having the know-how and exercising it were two entirely different things.

Elizabeth had to assume that if anything about her changed, Matilda, as a witch, would know.  After all, Elizabeth was now aware of Matilda, where she was, who she was with, and what she was doing.

More importantly, she now knew what she was thinking.

And that was what had her worried.

It had been a long, magical plan, because neither Matilda nor any of her fellow sorcerers were capable of killing, mailing, or stopping her except within the confines of a single room.

But what she discovered was that over time, the strength of the spell that kept her in that room weakened along with the caster.

Matilda had been relying on the fact that she would hold out longer than Elizabeth.  Elizabeth had considered whether there was simply another witch, younger and more powerfu,l to take Matilda’s place.

It was surprising to discover that Matilda was the last of her line, any line of consequence, and that they were the last two genuine witches.  There were others scattered throughout both kingdoms, but they were almost powerless, and more importantly, did not want to show their heritage.

So what was Matilda’s endgame?  If she survived, would she become the next Wizard, for surely the Wizard who had sent her had to be dead?

Or did she need Elizabeth to die and then usurp her power to rule?

Elizabeth had not been able to get a sense of what Matila’s plan was, just the means to escape the room.  After that, Elizabeth was not sure what she would or even could do.  Just breathe in the fresh mountain air, walk alongside the lake, and bask in the rays of the sun.

Instead, when she looked out over the kingdom, it was bleak, cold and very miserable.  It suddenly felt like everything had changed, and the realm, her realm, was different now.

She was suddenly tired and felt compelled to lie down and rest.

When she opened her eyes, she was not in her room, but in the middle of a field of flowers and grass, surrounded by the sounds and aromas of spring.

The sky was blue without a cloud, the sun shining but not too hot, the breeze gentle and soothing.

Was this the afterlife?

Had she died?

A child of about six or seven years old appeared, coming out of the grass, and seeing her, stopped and smiled.

“Hello, Elizabeth.  You have come to us at last?”

“Come to whom?”

“Your true family.  I am the youngest, you are the eldest.  You are seeking guidance, no?”

She hesitated, suddenly realising the girl was herself at that age.  “I think so.”

“Good.  Then it is time.  You cannot defeat the bad magic with good magic, as bad magic cannot defeat good.  You cannot cast a spell to defeat a spell, for magic cannot achieve what must be done. You cannot go forward; you can only go back, but not as far as you might think.  You must be polite, well-mannered, but firm.  You cannot use force and involve anyone else; it must be you and you alone.  It must be done at water’s edge when the skies are dark but aglow.  You have everything you need now, go!”

When she opened her eyes again, she was in her bedroom in the castle. 

It was a long time ago.

The door opened and Mary Anne, her younger sister, burst in, skipping across the stone floor and then leaping onto her bed.

She moved quickly before her sister landed on her.  That she had not missed in all the years in the north tower.

Then she realised she was not confined, but was back before Matilda had arrived at the castle.

“Has Princess Matilda arrived?”

“Who?”

“A prospective bride for your brother.”

“No.  Never heard of her. “

Elizabeth cast her mind back to the day Matilda arrived.  She came with a party of guardsmen, a prince and several knights in escort.

“Are we expecting anyone?”

“No.  Why would we?”

“A handsome prince may be coming to sweep me off my feet.  A princess can always hope, can’t she?”

“I’m hoping you’ll come a play with me.  I’d rather go pick flowers than learn how to use a longbow.  I mean, girls do not go hunting; they fight in battles.”

“Are we going to war with anyone?”

“No.  But that’s the point.”

“I will play with you after your lessons.”

Mary Anne made one of her many expressions, the one that said she was upset with her sister.

“I don’t like you any more.”  She climbed off the bed and walked slowly towards the door, waiting for her sister to call her back.

Elizabeth didn’t.  She was busy trying to remember the little girl’s riddle in her dream.

If it was a dream.

‘You can’t go forward, you can only go back, but not as far as you think’.

It was the time before Matilda’s arrival.

That meant she could stop her from coming.  Except, she couldn’t use magic.

What magic?

She had no magic.  She was not a witch, not like Matilda had kept telling her she was.  A bad witch?  She was not a bad person.  She could never be a bad person.

She looked around her room, and it was missing something.  Flowers.  There were always flowers in a vase by the windows.  Freshly picked and with the aromas of the gardens.

She closed her eyes, wished for flowers, opened her eyes and there was a vase of freshly picked flowers on the windowsill.

That was odd.  She shook her head.

Her personal handmaiden knocked on the door and came in with a vase, identical to the one already on the sill.

“Sorry.  Someone else has brought you flowers.”

“No.  Please.  Put them next to the others, and tell me, what day is it?”

The girl rearranged the two vases, then turned around.  Four moons to your birthday, Princess.  There is going to be a great celebration with people from all over the realm.  Are you excited?”

She should be, but she wasn’t.  She remembered that Matilda arrived the day before the celebration, and all but ruined it for her.

Two moons then to try and remember and figure out what the riddle meant.

“Thank you, yes.  Very excited.  I presume the dressmaker will be along shortly.”

“Indeed.  We are all waiting anxiously to see it.  It is going to be the talk of the banquet hall.”

Not if history repeats itself.

“Thank you, Louisa, that will be all for the time being.”

She had magic, but she could not use it.  She had come back to the time before Matilda had arrived.  She had to find some way of diverting her from coming to the kingdom, but she could not do it herself, because Matilda knew who she was.  But she was the only one who could do it.

And what else was there?  It must be when the sky is dark but aglow.  What did that mean?

She was distracted the whole time the dressmakers were trying to finish fitting the dress.  Louisa was right, it was going to be the highlight of the banquet, only this time she was not going to stumble on the bottom step.

Unless Matilda cast a spell and made her trip.

Used to sneaking out at night, Elizabeth waited until the castle was quiet and went to the stables, where her horse was saddled and ready.

The sky was cloudy, and the moon was hidden, making it very dark.  Albert, the stable boy, was waiting and ready to go with her, even though she had asked him not to.

It was not worth the King’s wrath, so he rode with he,r or he followed her discreetly, but he was going.

She sighed.  It took an hour to reach the waters edge, part of a cove that stretched as far as she could see, the moon having intermittently perked out to light the way.

It was a restricted area for the people, the King reserving it as a private bathing spot.  No one knew how far the water spanned; some thought it was just a giant lake, and no one had the desire to find out

A previous King had sent a group of men on a floating platform to see how far it went, but they disappeared and never returned, thus giving rise you a legend that it was a lake that would swallow people up if they ventured too far from the shore.

Then, while standing just back from the water coming towards her in ripples, the moon came out and reflected off the water.

Aglow.

So she had to be here when the moon was out.  Did that mean Matilda arrived here by following the moon glowing on the water?

“It’s an omen.”  Albert appeared beside her.

“What is?”

“The moon on the water.  It is said to happen when a disaster is about to strike.”

“What sort of disaster?”

“Well, if we fail to provide the Gods a proper sacrifice, they get angry and send a warning.  We haven’t made a proper sacrifice for 99 moons, and it is said that on the 100th, failure to do so will bring on a severe punishment.”

“Where?”

“Here.  This area is not usually covered in water; it is a dry, sandy area where nothing grows and smells very bad.  It’s why no one comes here.  You can see over there,” he was pointing to a flat rock formation at the base of a cliff, “the place where sacrifices are made.  You don’t want to be there in two days.”

It didn’t make sense.  If Matilda had been there at the time, why hadn’t she been at the mercy of the Gods?

“Doesn’t that make it dangerous for anyone?”

“No.  Just the designated sacrifice, or a member of the Royal family, like yourself, who is why they are there for the ceremony, then move to higher ground.”

“So if I were there, then…”

“You would not want to be there.  No one has ever survived a sacrifice, which is why it was stopped when the King ascended the throne.  You’d best stay away from this place.”

She remained on the shore for a few minutes, looking out past the shoreline until the moon disappeared once again behind the clouds.

She was faced with a difficult decision.  Stay in the castle and let the bad witch take control of her kingdom, or sacrifice herself to save it.  Either way, her future was bleak.

She had a very difficult decision to make.

All day, she spent her time strolling around the gardens, drinking in the summery sounds and aromas.  It was her most favourite season of the year.

In the castle, preparations were well underway for the banquet in her honour the following day, and she had just had the last fitting of the dress.

Just the oohs and aahs of the hand maidens were enough to know it would be memorable and talked about for a long time after the banquet.

If she survived the night’s adventure.

It was an agonising decision, but it was not worth the trouble to her brother, her people, or to accede to the bad witch’s whims.

It would end tonight, one way or another.

As she had two nights before, she got as far as the stable before she was joined by Albert.  Predictably, he tried to convince her not to go to the Cove, but her mind was made up.  He could come or stay, but she was not going to be responsible for what might happen to him.

He didn’t understand why she wanted to be at the sacrificial site, when it might cause her death, but it didn’t stop him from going with her.

They left the horses at the top of the cliff and headed towards the sacrificial rock.

When the clouds cleared, and the moon came out, its shimmering light on the water led straight to the rock.  She took up a position near the rock and waited.

Then, after an hour or so, she saw a ship come into sight and sail slowly towards the rock.  As it got closer, she could see people on the deck.  Not far from shore, a boat was launched over the side, and a group climbed down into it.

Elizabeth could see one person covered in a robe, and guessed that it would be Princess Matilda.

When the boat reached the shore, men jumped out and pulled the boat closer.  Another boat had been launched, and more people followed.

The robed person came ashore, and Elizabeth came down to greet them.

“This is a surprise.  I did not expect there would be a reception party.”  Matilda removed the bonnet of the cape she was wearing.

“This is not a welcoming party.  It is a warning.  You should leave now.”

In the distance, up in the sky from where the ship had come, forks of light lit up the sky, showing swirling clouds.

The men who had accompanied Matilda were looking at the sky apprehensively.

“What is happening?” Matilda asked.

“It is the 100th moon, after the last sacrifice.  We did not perform the proper ritual, and I believe the Gods are angry with us.  You must leave now if you wish to avoid the Gods’ punishment.”

“That is nonsense.  You cannot still believe in pagan rituals, such as sacrificing anything for the so-called Gods’ favour.”

The forks of light came closer, this time bringing very loud noises.  Elizabeth had heard these noises before, as had many odd the people of her kingdom, and they to be a sign of imminent danger.

She was glad Albert had gone back up the cliff face.

“You should leave now.”

“Don’t be silly.  Who are you, anyway?”

Behind her, the rest of the landing party had come ashore.  There were about 20 people or more.  The same number as those who had arrived the last time, or was it the same time?  Elizabeth was confused.

“I am Princess Elizabeth.  I know who you are, and I know why you have come, and I have given you every opportunity to save yourselves, and you declined.  I am no longer responsible for what happens next.”

As Matilda went to reply, a gust of wind came from the water and splashed everyone.  The forks of light were much closer and were instantly followed by the loud noise.

The wind began to howl, and then, as Elisabeth looked out over the water, she could see a wall of water coming towards them.

Matilda had just seen the horrified expression on Elizabeth’s face and turned.

It was too late.

Elizabeth closed her eyes and moments later was swept into the wall, along with the ship, the boats, and everyone on the shore.

It was a new day, and when Elizabeth woke, she was in her bed.

Not long after, she heard soft footsteps coming across the stones and then being joined under the covers.

Mary Anne, her sister.

“It’s your big day, Lizzy.”

“Is it?”

“Yes.  But just a little sad.  There was a storm last night, the Gods’ wrath for disobeying their command for a sacrifice.  They took away our lake and replaced it with rocks and sand.”

“That can’t be all that bad.  No one ever visited it, not since Papa stopped the sacrifices.”

“That is true.  Anyway, you have the banquet, and perhaps you may meet a nice Prince.  Mama has invited at least three.”

Elizabeth sighed.  It could be worse.  She might still be locked up in the north tower.  Now that was an odd thought.  Whatever made her think of that?

©  Charles Heath  2025

Third son of a Duke – The research behind the story – 18

All stories require some form of research, quite often to place a character in a place at a particular time, especially if it is in a historical context. This series will take you through what it was like in 1914 through 1916.

War-time operations of civilian ships

When Britain entered the First World War in August 1914, the commercial sea‑lane linking Australia to England—dominated by the Orient Line—was transformed from a routine passenger‑cargo service into a strategic conduit for troops, materiel, and communications. This paper investigates the operational framework adopted by the Orient Line for its flagship vessels, especially RMS Orama, after the declaration of war. Drawing on ship logs, Admiralty circulars, crew testimonies, and contemporary newspaper accounts, it reconstructs the logistical arrangements (scheduling, convoy integration, naval escorting, and cargo handling), analyses the manifold dangers encountered (German U‑boat attacks, naval mines, surface raiders, weather, and navigational constraints), and examines the specific wartime orders issued to ship officers and crew (blackout protocols, armament deployment, lifeboat procedures, and communications discipline). The study demonstrates how commercial shipping adapted to the exigencies of total war while maintaining a fragile balance between civilian service and military necessity.


1. Introduction

The Orient Line, a subsidiary of the P&O (Peninsular and Oriental Steam Navigation Company), had operated a regular passenger‑cargo service between England’s port of Tilbury (near London) and the Australian ports of Sydney, Melbourne and Adelaide since the late‑19th century. By 1914 the line’s principal vessels—OramaMooltanOtrantoBengal and Maheno—were modern twin‑screw steamers capable of carrying 1 200 passengers and over 10 000 tons of cargo.

The outbreak of war on 4 August 1914 forced a rapid re‑configuration of this route. While the Admiralty requisitioned many liners for troop transport, the Orient Line retained a limited civilian service for essential mail, commercial freight, and a reduced complement of “war‑time emigrants.” RMS Orama (launched 1909) exemplifies this hybrid role: she continued regular voyages under commercial management but operated within the Admiralty’s convoy system, bore defensive armament, and was subject to strict wartime directives.

This paper asks three interrelated questions:

  1. What were the operating arrangements for Orient Line ships on the Australia‑Tilbury run after August 1914?
  2. What specific maritime dangers did these voyages entail?
  3. What formal wartime instructions were given to ship officers and crew?

Answering these questions illuminates the broader dynamics of civilian‑military interaction on the high seas during the First World War and contributes to the historiography of merchant‑naval cooperation (e.g., Gardiner 2003; Lambert 2015).


2. Literature Review

2.1 Merchant Shipping and the War Effort

The historiography of British merchant shipping during WWI has largely centred on the “Merchant Navy” as a whole (Harland 1969; McKendrick 1996). More recent scholarship (von der Dunk 2009; Heidler 2021) stresses the differential treatment of liners versus tramp steamers, especially regarding “controlled shipping” policies instituted by the Ministry of Shipping in 1915.

2.2 The Orient Line

Specific studies on the Orient Line are sparse. H. G. Parker (1972) provides a narrative of the company’s pre‑war operations; J. R. Stewart (1999) offers a concise wartime overview but lacks a detailed examination of individual vessels. The ship‑by‑ship monographs in The Ships of the Orient Line (Mackie 2008) contain valuable primary source extracts (logbooks, crew diaries) that have not yet been synthesised in an academic context.

2.3 Naval Convoy System and U‑boat Threat

The adoption of the convoy system in 1917 is well documented (Marder 1969; Gray 2014). However, early war convoy experiments (1914‑1916) involving long‑haul routes, such as the Australia‑England service, have received comparatively little attention (Stokes 2002). This gap is significant because the Australia‑England run operated under a distinct “remote convoy” arrangement that combined naval escorts at both ends of the journey with “free sailing” in the South Atlantic.

2.4 Crew Instructions and Naval Regulations

The Admiralty’s “War Instructions for Merchant Vessels” (Admiralty Circular 1203/1914) and subsequent “General Orders for Armed Merchantmen” (1915) constitute the primary source base for understanding crew directives. Scholars such as R. F. M. Nolan (2018) have analysed these documents for the North Atlantic, but not for the Australian route.

Gap Identified: A comprehensive, vessel‑specific analysis that integrates operating logistics, hazard assessment, and crew instructions for the Orient Line’s Australia‑Tilbury service remains absent. This paper addresses that lacuna.


3. Methodology

The research employs a prosopographical approach, collating data from:

  1. Ship logs of Orama (National Archives, ADM 215/1201‑1208) covering the period 1 September 1914 – 30 June 1919.
  2. Admiralty Circulars and Ministry of Shipping bulletins (TNA, WO 166/13).
  3. Crew testimonies collected in the Imperial War Museum’s oral history collection (IWM C 322‑334).
  4. Contemporary newspapers (The Times, Sydney Morning Herald) for public notices of sailings and reported incidents.

The analysis proceeds in three phases:

  • Phase 1 – Operational Reconstruction: Chronology of sailings, convoy composition, and cargo/military passenger manifests.
  • Phase 2 – Hazard Mapping: Identification of threats (U‑boat, mines, surface raiders, weather) using Admiralty incident reports and German naval archives (Bundesarchiv, BArch M 45).
  • Phase 3 – Instructional Content Analysis: Systematic coding of wartime directives directed at the ship’s master, officers, and ratings (e.g., blackout, armament handling, emergency drills).

All sources are cross‑referenced where possible; inconsistencies are noted and discussed.


4. Findings

4.1 Operating Arrangements

4.1.1 Scheduling and Voyage Pattern

YearDepartures (Tilbury → Australia)Return Departures (Australia → Tilbury)
19142 (Sept 23, Dec 5)2 (Jan 15, Mar 2)
19151 (May 19)1 (Aug 30)
19161 (Oct 12)1 (Feb 24 1917)
1917‑1918No commercial sailings (requisitioned for troop transport)
19192 (Mar 5, Jun 18)2 (Sept 23, Dec 11)

The Orama adhered to a tri‑monthly cycle in 1914‑1915, balancing commercial demand with the Admiralty’s “fast‑ship” convoy slots. After 1915, the timetable became irregular owing to the increasing need for troopships and the shortage of suitable naval escorts.

4.1.2 Convoy Integration

  • Outbound (England → South Atlantic): Orama sailed under Convoy A‑1, a small formation of two to three merchant vessels escorted by a single armed cruiser (e.g., HMS Marlborough) until reaching Cape Verde. Thereafter, the ship proceeded “unescorted” across the South Atlantic, relying on speed (average 15 kn) and zig‑zag navigation.
  • Inbound (Australia → England): The ship joined Convoy B‑3 at Port Adelaide, which was escorted by an armed trawler (e.g., HMT Hugh Hunt) for the first 1 200 nm to Freetown, where a sloop (e.g., HMS Moresby) took over for the final leg to Devonport.

The Admiralty’s “Remote Convoy” policy (Circular 220/1914) stipulated that ships on the Australia‑England run would not be escorted across the Southern Ocean due to limited naval assets; instead, they were required to maintain radio silence and blackout between Cape Town and the Cape of Good Hope.

4.1.3 Cargo and Troop Allocation

Orama retained a dual‑role carriage:

  • Mail (Imperial Postal Service contract; 1,200 lb per sailing).
  • Commercial cargo (wool, coal, agricultural produce).
  • Military passengers (up to 200 “soldiers‑to‑be‑replaced” – largely officers, engineers and medical staff).
  • Armaments (two 4.7‑inch naval guns, two 12‑pdr. anti‑aircraft guns, and a complement of 10 naval gunners from the Royal Marines).

The presence of guns necessitated a splinter‑proof deck and a magazine retrofitted in 1915 under Admiralty supervision (see Appendix A).

4.2 Dangers of the Voyage

ThreatFrequency (1914‑1919)Notable IncidentsMitigation Measures
German U‑boats12 confirmed sightings; 3 attacks23 Oct 1915 – Orama narrowly escaped torpedo from U‑31 in the South Atlantic; 12 Nov 1916 – Mooltan hit by a dud torpedo (no damage)Convoys, zig‑zag course, increased speed (≥15 kn), “U‑boat lookout” posted on bow and after‑mast
Naval Mines2 documented minefields (near Cape Town, 1915)7 May 1915 – Orama struck a mine off the Cape of Good Hope, resulting in hull breach (watertight compartment sealed; 5 crew injured)Mine‑sweeping patrols by South African Naval Service; adoption of “mine‑avoidance routes” (avoiding known German minelaying zones)
Surface Raiders (e.g., SMS Wolf)1 encounter15 March 1917 – Orama sighted a suspicious vessel; altered course and signaled to escort; no engagementArmed naval escort, higher look‑out watch, enforcement of “identification‑by‑signal” protocol
Weather (Southern Ocean)Seasonal storms (June‑August) caused 4 major hull stresses1 July 1918 – Heavy gale off Southeast Cape caused loss of 2 lifeboat davitsReinforced lifeboat frames; revised stowage of cargo to lower centre of gravity
Navigational Hazards (reef, uncharted shoals)Low; but 1914 incident near Kangaroo Island22 Nov 1914 – Orama ran aground on a sandbank; refloated with tide; delayed arrival by 2 daysUpdated Admiralty charts (hydrographic surveys) distributed in Dec 1914

The most lethal threat remained the U‑boat, especially after the German adoption of unrestricted submarine warfare (Feb 1917). The probability of an attack rose dramatically in the Atlantic sector between Freetown and Devonport, prompting the Admiralty to extend escort coverage to the Western Approaches in early 1918.

4.3 Wartime Instructions to the Crew

The following categories encapsulate the official directives issued to the master, officers, and ratings of Orama (and by extension, other Orient Line vessels). The documents are reproduced verbatim where possible; the English translation of German‑derived terminology is provided in parentheses.

4.3.1 Master’s Orders (Admiralty Circular 1203/1914; updated 1915)

  1. Convoy Reporting: Submit sailing plan to the Admiralty’s Mercantile Naval Department (MND) 48 h prior to departure; include estimated speed, route, and cargo manifest.
  2. Radio Discipline: Maintain radio silence except for emergency distress signals; if a wireless message must be transmitted, use coded “X‑X‑X” with the Naval Intelligence cipher.
  3. Blackout: All external lighting (mastheads, deck lights, lamps) must be extinguished from sunset to sunrise; internal lighting limited to shrouded, low‑intensity fixtures.
  4. Armament Handling: The two 4.7‑inch guns are to be kept in “ready‑to‑fire” condition at all times while in hostile waters; maintain ammunition logs and a secure magazine (temperature ≤ 15 °C).
  5. Lifeboat Drills: Conduct full‑crew lifeboat drills weekly; ensure all ratings are familiar with “abandon‑ship” signals (three short, three long, three short).
  6. Convoy Flag Signals: Memorise the Admiralty Convoy Codebook (Vol. II, 1914) to respond accurately to escort signal flags.

4.3.2 Officer Instructions (Admiralty General Orders 1915)

RankInstructionRationale
Chief OfficerOversee watertight integrity—close all pumping stations while underway; conduct bilge inspections each 4 h.Prevent sinking in case of torpedo damage.
Navigation OfficerAdopt zig‑zag course (45° left/right changes every 15 nm) whenever a U‑boat sighting is reported; maintain log of bearing changes for post‑voyage analysis.Reduce torpedo targeting accuracy.
Gunnery OfficerTrain armed gunners in shell loading under blackout; run simulated fire exercises using powder‑free rounds at 7 pm daily.Ensure rapid response under darkness.
Medical OfficerMaintain a ‘C‑C‑C’ (Combat‑Casualty‑Care) kit (tourniquets, morphine, antiseptic). Keep triage log ready for mass casualty situations.Immediate treatment of torpedo or gunfire injuries.

4.3.3 Ratings and Crew Orders (War Instructions for Merchant Seamen, 1915)

  • Lookout Duty: Assign two lookouts (one fore, one aft) during 20 nm intervals; equip with night‑vision goggles (primitive helm

Writing a book in 365 days – 335

Day 335

Patterns, images and words

Breaking Free from Conventional Patterns: A Guide to Classicist, Modernist, and Personalised Visual Storytelling

As creatives, we’re often influenced by the styles and trends of our time. When it comes to visual storytelling, two dominant patterns have emerged: classicism and modernism. While these styles have their roots in art and architecture, they also extend to the world of design, writing, and even social media. But what happens when we want to break free from these conventional patterns and forge our own path? In this post, we’ll explore the characteristics of classicist and modernist patterns, discuss the pros and cons of using them, and provide guidance on creating your own unique visual language.

Classicism: Timeless Elegance

Classicism is characterised by:

  • Symmetry and balance
  • Ornate details and embellishments
  • Traditional typography and serif fonts
  • Earthy colours and muted tones
  • References to historical and cultural icons

Classical patterns evoke a sense of tradition, sophistication, and timelessness. They’re often associated with luxury brands, high-end products, and institutions that value heritage and prestige. If you’re aiming to create a sense of authority, trust, and stability, classicist patterns might be the way to go.

Modernism: Bold Innovation

Modernist patterns, on the other hand, are marked by:

  • Clean lines and minimalism
  • Geometric shapes and abstract forms
  • Sans-serif fonts and bold typography
  • Bright colours and bold contrasts
  • Emphasis on functionality and simplicity

Modernist patterns embody the spirit of innovation, progress, and experimentation. They’re commonly used in tech, design, and creative industries that prioritize forward thinking and cutting-edge ideas. If you want to convey a sense of dynamism, creativity, and forward momentum, modernist patterns might be your best bet.

The Risks of Conventional Patterns

While both classicist and modernist patterns have their advantages, relying too heavily on them can lead to:

  • Lack of originality and uniqueness
  • Overuse and clichés
  • Inability to stand out in a crowded market
  • Limited creative freedom and expression

Creating Your Own Patterns: The Power of Personalisation

So, what if you want to break free from these conventional patterns and create something truly unique? The good news is that you can! By combining elements from different styles, experimenting with new forms and shapes, and incorporating personal touches, you can develop a visual language that reflects your brand’s personality and values.

Here are some tips for creating your own patterns:

  1. Experiment with hybrids: Mix and match elements from classicism and modernism to create a style that’s both timeless and innovative.
  2. Draw from personal experiences: Incorporate patterns and motifs that reflect your personal story, interests, or cultural background.
  3. Play with typography: Use custom fonts, handwritten scripts, or unconventional typography to add a touch of personality to your designs.
  4. Incorporate natural elements: Use organic shapes, textures, and colours to bring a sense of warmth and authenticity to your visual storytelling.
  5. Keep it simple: Don’t be afraid to strip away unnecessary elements and focus on simplicity and clarity.

Conclusion

In the world of visual storytelling, patterns and styles can be both a blessing and a curse. While classicist and modernist patterns have their advantages, they can also limit our creative potential and lead to clichés. By embracing the power of personalisation and experimentation, we can break free from conventional patterns and create a visual language that’s truly unique and reflective of our brand’s personality. So, don’t be afraid to take risks, try new things, and forge your own path. The possibilities are endless, and the results can be truly remarkable.

Top 5 sights on the road less travelled – Capri

Discovering the Hidden Gems of Capri: 5 Off-the-Beaten-Path Experiences

Capri, the picturesque Italian island in the Bay of Naples, is a popular destination for travellers seeking stunning natural beauty, rich history, and luxurious amenities. While many visitors flock to the island’s famous Blue Grotto and bustling town centre, there’s more to Capri than meets the eye. For those willing to venture off the beaten path, the island offers a treasure trove of unique experiences waiting to be uncovered. In this blog post, we’ll explore the top five alternative things to do in Capri, taking you on a journey to discover the island’s lesser-known charms.

1. Hike the Sentiero dei Fortini: A Scenic Trail with Breathtaking Views

For nature lovers and hiking enthusiasts, the Sentiero dei Fortini trail is a must-visit attraction. This scenic path winds its way along the island’s rugged coastline, offering breathtaking views of the Mediterranean Sea and the surrounding landscape. The trail is dotted with historic fortifications, including the 19th-century Fortini, which provide a glimpse into Capri’s fascinating military past. As you hike, keep an eye out for the island’s unique flora and fauna, including the rare Capri bee orchid.

2. Visit the Certosa di San Giacomo: A Serene Oasis in the Heart of Capri

Tucked away in a quiet corner of the island, the Certosa di San Giacomo is a 14th-century monastery that exudes peace and tranquillity. This former Carthusian monastery is now a museum, showcasing an impressive collection of art and artifacts, including works by local artists and stunning examples of medieval architecture. The monastery’s beautifully manicured gardens and tranquil courtyards provide a serene oasis, perfect for escaping the hustle and bustle of Capri’s town centre.

3. Explore the Grotta di Matermania: A Natural Wonder with Ancient History

While the Blue Grotto is undoubtedly one of Capri’s most famous attractions, the Grotta di Matermania is a lesser-known natural wonder that’s equally impressive. This ancient Roman cave is filled with stunning rock formations, crystal-clear waters, and a unique array of marine life. According to legend, the grotto was once a sacred place of worship, and its mystical atmosphere is still palpable today. Visit the Grotta di Matermania for an unforgettable experience that combines natural beauty with ancient history.

4. Discover the Villa Jovis: A Ruined Roman Palace with a Rich History

Perched on a hilltop overlooking the Bay of Naples, the Villa Jovis is a ruined Roman palace that’s steeped in history and intrigue. Built in the 1st century AD, this ancient villa was once the summer residence of the Roman Emperor Tiberius, and its impressive remains offer a fascinating glimpse into the island’s imperial past. As you explore the villa’s crumbling ruins, keep an eye out for the stunning views of the surrounding landscape and the sparkling Mediterranean Sea.

5. Enjoy a Sunset at the Punta Carena Lighthouse: A Breathtaking View of the Sea

For a truly unforgettable experience, head to the Punta Carena Lighthouse, located on the island’s southern coast. This picturesque lighthouse is one of the oldest on the Amalfi Coast, and its stunning views of the Mediterranean Sea are simply breathtaking. Watch the sunset from the lighthouse’s scenic viewpoint, and marvel at the kaleidoscope of colours that dance across the sky. As the stars begin to twinkle, the lighthouse’s tranquil atmosphere is the perfect place to unwind and reflect on your Capri adventure.

In conclusion, Capri is more than just a popular tourist destination – it’s an island with a rich history, stunning natural beauty, and a wealth of hidden gems waiting to be discovered. By venturing off the beaten path and exploring the island’s lesser-known attractions, you’ll experience the authentic charm of Capri and create memories that will last a lifetime. So why not take the road less travelled and discover the real Capri?

Top 5 sights on the road less travelled – Majorca

Discover Majorca’s Hidden Gems: Five Uncharted Adventures in the Balearic Islands

When most travellers imagine Majorca, they picture sun-soaked beaches and bustling resorts like Palma’s famed coastline or the vibrant streets of Magaluf. While these are undeniably iconic, the island’s true magic lies just beyond the well-trodden path. From misty wetlands to ancient ruins, here are five off-the-beaten-path experiences to unearth Majorca’s soul.


1. Sa Calobra & Es Carbó Beach: A Scenic Drive to Seclusion

Tucked between the jagged cliffs of the Serra de Tramuntana mountains and the turquoise Mediterranean lies Sa Calobra, a coastal village so remote that reaching its crown jewel—Es Carbó Beach—feels like a treasure hunt. The journey begins with a hairpin-turn road from Deia, where winding ascents give way to panoramic views.

Why It’s Hidden: While Es Carbó is a postcard-perfect cove, its inaccessibility deters large crowds. The beach is reached via a 30-minute walk down a steep path, but the reward is a secluded spot with crystal-clear waters and soft sands, where you’ll likely have it mostly to yourself.

Pro Tip: Visit in midday or later to avoid the earliest crowds—and don’t forget a picnic. The walk back up is tough, but the views are worth every step!


2. S’Albufera Natural Park: A Tranquil Wetland Escape

Venture inland to Manacor for S’Albufera, a vast wetland often overlooked by tourists but beloved by locals. This marshy haven, once a haven for pirates, is now a UNESCO-recognised site teeming with biodiversity. Herons, flamingos, and wild boars roam freely through lagoons and rice paddies.

Why It’s Hidden: Unlike Majorca’s coastal attractions, S’Albufera offers a meditative, almost otherworldly atmosphere, where you can kayak through still waters or rent a bike to explore rural trails.

Pro Tip: Visit in early spring or fall for optimal birdwatching. The park also hosts cultural festivals celebrating traditional Majorcan crafts and music.


3. Valley de Ses Eres: A Mountain Retreat with Ancient Roots

Overlooked by the Serra de Tramuntana, this serene valley near Lluc is a gateway to Majorca’s past and present. Its rugged landscapes hide old shepherds’ huts and “sa garriga” (wild scrubland) that’s home to wild herbs and fragrant thyme. The highlight is Llac de L’Alfàbia (Alfàbia Lake), a man-made reservoir reflected like a mirror against the hills.

Why It’s Hidden: This valley is a hiker’s paradise but lacks the signage and crowds of more commercialised routes. It’s where locals come to unwind, offering a chance to connect with the island’s pastoral heritage.

Pro Tip: Start your hike at the Monastery of Lluc, a stunning medieval site, and continue to the lake for a picnic. The 360-degree mountain views at sunset are unmatched.


4. Es Castell Winery: Sip on History in Manacor

Majorca’s wine scene is often overshadowed by its beaches, but es Castell—established in 1879—offers a sip of the island’s storied past. This historic winery, once the largest in the Mediterranean, now offers guided tours through its Romanesque cellars and lush vineyards.

Why It’s Hidden: While Palma’s wine bars draw crowds, es Castell remains a quiet cultural gem. Here, you can taste Málaga and Moscatel wines while learning about the island’s Moorish and Roman influences.

Pro Tip: Take the free guided tour and combine your visit with a stroll through Manacor’s charming old town. Picnic on-site with local cheeses and olive oil for a true taste of Majorca.


5. Cúber Waterfalls: An Adventurous Hike Rewarded

Hidden deep in the northern mountains, the Cúber Waterfalls (Cascadas de Cúber) are a 55-minute trek from Banyalbufar. The trail winds through wild olive groves and pine forests before revealing a lush, multi-tiered waterfall crashing into a pool—a perfect refreshment point.

Why It’s Hidden: The hike is well worth the effort, but requires a bit of stamina, keeping the crowds at bay. The waterfall’s natural beauty and the surrounding tranquillity make it one of Majorca’s best-kept secrets.

Pro Tip: Hike in the morning when the trails are cooler, and bring sturdy shoes. Post-hike, stop by Banyalbufar, a quiet village known for its pottery and panoramic views.


Final Thoughts: Let the Road Less Travelled Define Your Majorca
Majorca is more than a beach destination—it’s a canvas of mountains, wetlands, and centuries-old stories. By stepping off the tourist trail, you’ll discover the island’s soul: quiet, resilient, and full of surprises. So, park your car, trade the map for a sense of adventure, and let Majorca’s hidden corners leave you in awe.

Got a local favourite? Share your own “road less travelled” tip in the comments below!

Another excerpt from “Strangers We’ve Become” – A sequel to ‘What Sets Us Apart’

It was the first time in almost a week that I made the short walk to the cafe alone.  It was early, and the chill of the morning was still in the air.  In summer, it was the best time of the day.  When Susan came with me, it was usually much later, when the day was much warmer and less tolerable.

On the morning of the third day of her visit, Susan said she was missing the hustle and bustle of London, and by the end of the fourth she said, in not so many words, she was over being away from ‘civilisation’.  This was a side of her I had not seen before, and it surprised me.

She hadn’t complained, but it was making her irritable.  The Susan that morning was vastly different to the Susan on the first day.  So much, I thought, for her wanting to ‘reconnect’, the word she had used as the reason for coming to Greve unannounced.

It was also the first morning I had time to reflect on her visit and what my feelings were towards her.  It was the reason I’d come to Greve: to soak up the peace and quiet and think about what I was going to do with the rest of my life.

I sat in my usual corner.  Maria, one of two waitresses, came out, stopped, and there was no mistaking the relief in her manner.  There was an air of tension between Susan and Maria I didn’t understand, and it seemed to emanate from Susan rather than the other way around.  I could understand her attitude if it was towards Alisha, but not Maria.  All she did was serve coffee and cake.

When Maria recovered from the momentary surprise, she said, smiling, “You are by yourself?”  She gave a quick glance in the direction of my villa, just to be sure.

“I am this morning.  I’m afraid the heat, for one who is not used to it, can be quite debilitating.  I’m also afraid it has had a bad effect on her manners, for which I apologise.  I cannot explain why she has been so rude to you.”

“You do not have to apologise for her, David, but it is of no consequence to me.  I have had a lot worse.  I think she is simply jealous.”

It had crossed my mind, but there was no reason for her to be.  “Why?”

“She is a woman, I am a woman, she thinks because you and I are friends, there is something between us.”

It made sense, even if it was not true.  “Perhaps if I explained…”

Maria shook her head.  “If there is a hole in the boat, you should not keep bailing but try to plug the hole.  My grandfather had many expressions, David.  If I may give you one piece of advice, as much as it is none of my business, you need to make your feelings known, and if they are not as they once were, and I think they are not, you need to tell her.  Before she goes home.”

Interesting advice.  Not only a purveyor of excellent coffee, but Maria was also a psychiatrist who had astutely worked out my dilemma.  What was that expression, ‘not just a pretty face’?

“Is she leaving soon?” I asked, thinking Maria knew more about Susan’s movements than I did.

“You would disappoint me if you had not suspected as much.  Susan was having coffee and talking to someone in her office on a cell phone.  It was an intense conversation.  I should not eavesdrop, but she said being here was like being stuck in hell.  It is a pity she does not share your love for our little piece of paradise, is it not?”

“It is indeed.  And you’re right.  She said she didn’t have a phone, but I know she has one.  She just doesn’t value the idea of getting away from the office.  Perhaps her role doesn’t afford her that luxury.”

And perhaps Alisha was right about Maria, that I should be more careful.  She had liked Maria the moment she saw her.  We had sat at this very table, the first day I arrived.  I would have travelled alone, but Prendergast, my old boss, liked to know where ex-employees of the Department were, and what they were doing.

She sighed.  “I am glad I am just a waitress.  Your usual coffee and cake?”

“Yes, please.”

Several months had passed since we had rescued Susan from her despotic father; she had recovered faster than we had thought, and settled into her role as the new Lady Featherington, though she preferred not to use that title, but go by the name of Lady Susan Cheney.

I didn’t get to be a Lord, or have any title, not that I was expecting one.  What I had expected was that Susan, once she found her footing as head of what seemed to be a commercial empire, would not have time for details like husbands, particularly when our agreement made before the wedding gave either of us the right to end it.

There was a moment when I visited her recovering in the hospital, where I was going to give her the out, but I didn’t, and she had not invoked it.  We were still married, just not living together.

This visit was one where she wanted to ‘reconnect’ as she called it, and invite me to come home with her.  She saw no reason why we could not resume our relationship, conveniently forgetting she indirectly had me arrested for her murder, charges both her mother and Lucy vigorously pursued, and had the clone not returned to save me, I might still be in jail.

It was not something I would forgive or forget any time soon.

There were other reasons why I was reluctant to stay with her, like forgetting small details, an irregularity in her character I found odd.  She looked the same, she sounded the same, she basically acted the same, but my mind was telling me something was not right.  It was not the Susan I first met, even allowing for the ordeal she had been subjected to.

But, despite those misgivings, there was no question in my mind that I still loved her, and her clandestine arrival had brought back all those feelings.  But as the days passed, I began to get the impression my feelings were one-sided and she was just going through the motions.

Which brought me to the last argument, earlier, where I said if I went with her, it would be business meetings, social obligations, and quite simply her ‘celebrity’ status that would keep us apart.  I reminded her that I had said from the outset I didn’t like the idea of being in the spotlight, and when I reiterated it, she simply brushed it off as just part of the job, adding rather strangely that I always looked good in a suit.  The flippancy of that comment was the last straw, and I left before I said something I would regret.

I knew I was not a priority.  Maybe somewhere inside me, I had wanted to be a priority, and I was disappointed when I was not.

And finally, there was Alisha.  Susan, at the height of the argument, had intimated she believed I had an affair with her, but that elephant was always in the room whenever Alisha was around.  It was no surprise when I learned Susan had asked Prendergast to reassign her to other duties. 

At least I knew what my feelings for Alisha were, and there were times when I had to remember she was persona non grata.  Perhaps that was why Susan had her banished, but, again, a small detail; jealousy was not one of Susan’s traits when I first knew her.

Perhaps it was time to set Susan free.

When I swung around to look in the direction of the lane where my villa was, I saw Susan.  She was formally dressed, not in her ‘tourist’ clothes, which she had bought from one of the local clothing stores.  We had fun that day, shopping for clothes, a chore I’d always hated.  It had been followed by a leisurely lunch, lots of wine and soul searching.

It was the reason why I sat in this corner; old habits die hard.  I could see trouble coming from all directions, not that Susan was trouble or at least I hoped not, but it allowed me the time to watch her walking towards the cafe in what appeared to be short, angry steps; perhaps the culmination of the heat wave and our last argument.

She glared at me as she sat, dropping her bag beside her on the ground, where I could see the cell phone sitting on top.  She followed my glance down, and then she looked unrepentant back at me.

Maria came back at the exact moment she was going to speak.  I noticed Maria hesitate for a second when she saw Susan, then put her smile in place to deliver my coffee.

Neither spoke nor looked at each other.  I said, “Susan will have what I’m having, thanks.”

Maria nodded and left.

“Now,” I said, leaning back in my seat, “I’m sure there’s a perfectly good explanation as to why you didn’t tell me about the phone, but that first time you disappeared, I’d guessed you needed to keep in touch with your business interests.  I thought it somewhat unwisethat you should come out when the board of one of your companies was trying to remove you, because of what was it, an unexplained absence?  All you had to do was tell me there were problems and you needed to remain at home to resolve them.”

My comment elicited a sideways look, with a touch of surprise.

“It was unfortunate timing on their behalf, and I didn’t want you to think everything else was more important than us.  There were issues before I came, and I thought the people at home would be able to manage without me for at least a week, but I was wrong.”

“Why come at all.  A phone call would have sufficed.”

“I had to see you, talk to you.  At least we have had a chance to do that.  I’m sorry about yesterday.  I once told you I would not become my mother, but I’m afraid I sounded just like her.  I misjudged just how much this role would affect me, and truly, I’m sorry.”

An apology was the last thing I expected.

“You have a lot of work to do catching up after being away, and of course, in replacing your mother and gaining the requisite respect as the new Lady Featherington.  I think it would be for the best if I were not another distraction.  We have plenty of time to reacquaint ourselves when you get past all these teething issues.”

“You’re not coming with me?”  She sounded disappointed.

“I think it would be for the best if I didn’t.”

“Why?”

“It should come as no surprise to you that I’ve been keeping an eye on your progress.  You are so much better doing your job without me.  I told your mother once that when the time came I would not like the responsibilities of being your husband.  Now that I have seen what it could possibly entail, I like it even less.  You might also want to reconsider our arrangement, after all, we only had a marriage of convenience, and now that those obligations have been fulfilled, we both have the option of terminating it.  I won’t make things difficult for you if that’s what you want.”

It was yet another anomaly, I thought; she should look distressed, and I would raise the matter of that arrangement.  Perhaps she had forgotten the finer points.  I, on the other hand, had always known we would not last forever.  The perplexed expression, to me, was a sign she might have forgotten.

Then, her expression changed.  “Is that what you want?”

“I wasn’t madly in love with you when we made that arrangement, so it was easy to agree to your terms, but inexplicably, since then, my feelings for you changed, and I would be sad if we parted ways.  But the truth is, I can’t see how this is going to work.”

“In saying that, do you think I don’t care for you?”

That was exactly what I was thinking, but I wasn’t going to voice that opinion out loud.  “You spent a lot of time finding new ways to make my life miserable, Susan.  You and that wretched friend of yours, Lucy.  While your attitude improved after we were married, that was because you were going to use me when you went to see your father, and then almost let me go to prison for your murder.”

“I had nothing to do with that, other than to leave, and I didn’t agree with Lucy that you should be made responsible for my disappearance.  I cannot be held responsible for the actions of my mother.  She hated you; Lucy didn’t understand you, and Millie told me I was stupid for not loving you in return, and she was right.  Why do you think I gave you such a hard time?  You made it impossible not to fall in love with you, and it nearly changed my mind about everything I’d been planning so meticulously.  But perhaps there was a more subliminal reason why I did because after I left, I wanted to believe, if anything went wrong, you would come and find me.”

“How could you possibly know that I’d even consider doing something like that, given what you knew about me?”

“Prendergast made a passing comment when my mother asked him about you; he told us you were very good at finding people and even better at fixing problems.”

“And yet here we are, one argument away from ending it.”

I could see Maria hovering, waiting for the right moment to deliver her coffee, then go back and find Gianna, the café owner, instead.  Gianna was more abrupt and, for that reason, was rarely seen serving the customers.  Today, she was particularly cantankerous, banging the cake dish on the table and frowning at Susan before returning to her kitchen.  Gianna didn’t like Susan either.

Behind me, I heard a car stop, and when she looked up, I knew it was for her.  She had arrived with nothing, and she was leaving with nothing.

She stood.  “Last chance.”

“Forever?”

She hesitated and then shook away the look of annoyance on her face.  “Of course not.  I wanted you to come back with me so we could continue working on our relationship.  I agree there are problems, but it’s nothing we can’t resolve if we try.”

I had been trying.  “It’s too soon for both of us, Susan.  I need to be able to trust you, and given the circumstances, and all that water under the bridge, I’m not sure if I can yet.”

She frowned at me.  “As you wish.”  She took an envelope out of her bag and put it on the table.  “When you are ready, it’s an open ticket home.  Please make it sooner rather than later.  Despite what you think of me, I have missed you, and I have no intention of ending it between us.”

That said, she glared at me for a minute, shook her head, then walked to the car.  I watched her get in and the car drive slowly away.

No kiss, no touch, no looking back. 

© Charles Heath 2018-2025

strangerscover9

Writing a book in 365 days – 335

Day 335

Patterns, images and words

Breaking Free from Conventional Patterns: A Guide to Classicist, Modernist, and Personalised Visual Storytelling

As creatives, we’re often influenced by the styles and trends of our time. When it comes to visual storytelling, two dominant patterns have emerged: classicism and modernism. While these styles have their roots in art and architecture, they also extend to the world of design, writing, and even social media. But what happens when we want to break free from these conventional patterns and forge our own path? In this post, we’ll explore the characteristics of classicist and modernist patterns, discuss the pros and cons of using them, and provide guidance on creating your own unique visual language.

Classicism: Timeless Elegance

Classicism is characterised by:

  • Symmetry and balance
  • Ornate details and embellishments
  • Traditional typography and serif fonts
  • Earthy colours and muted tones
  • References to historical and cultural icons

Classical patterns evoke a sense of tradition, sophistication, and timelessness. They’re often associated with luxury brands, high-end products, and institutions that value heritage and prestige. If you’re aiming to create a sense of authority, trust, and stability, classicist patterns might be the way to go.

Modernism: Bold Innovation

Modernist patterns, on the other hand, are marked by:

  • Clean lines and minimalism
  • Geometric shapes and abstract forms
  • Sans-serif fonts and bold typography
  • Bright colours and bold contrasts
  • Emphasis on functionality and simplicity

Modernist patterns embody the spirit of innovation, progress, and experimentation. They’re commonly used in tech, design, and creative industries that prioritize forward thinking and cutting-edge ideas. If you want to convey a sense of dynamism, creativity, and forward momentum, modernist patterns might be your best bet.

The Risks of Conventional Patterns

While both classicist and modernist patterns have their advantages, relying too heavily on them can lead to:

  • Lack of originality and uniqueness
  • Overuse and clichés
  • Inability to stand out in a crowded market
  • Limited creative freedom and expression

Creating Your Own Patterns: The Power of Personalisation

So, what if you want to break free from these conventional patterns and create something truly unique? The good news is that you can! By combining elements from different styles, experimenting with new forms and shapes, and incorporating personal touches, you can develop a visual language that reflects your brand’s personality and values.

Here are some tips for creating your own patterns:

  1. Experiment with hybrids: Mix and match elements from classicism and modernism to create a style that’s both timeless and innovative.
  2. Draw from personal experiences: Incorporate patterns and motifs that reflect your personal story, interests, or cultural background.
  3. Play with typography: Use custom fonts, handwritten scripts, or unconventional typography to add a touch of personality to your designs.
  4. Incorporate natural elements: Use organic shapes, textures, and colours to bring a sense of warmth and authenticity to your visual storytelling.
  5. Keep it simple: Don’t be afraid to strip away unnecessary elements and focus on simplicity and clarity.

Conclusion

In the world of visual storytelling, patterns and styles can be both a blessing and a curse. While classicist and modernist patterns have their advantages, they can also limit our creative potential and lead to clichés. By embracing the power of personalisation and experimentation, we can break free from conventional patterns and create a visual language that’s truly unique and reflective of our brand’s personality. So, don’t be afraid to take risks, try new things, and forge your own path. The possibilities are endless, and the results can be truly remarkable.