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Approaching the Gardens
There are parts of Rhydin City that are beautiful, well kept, and luxurious. Your destination lies not within these environs. Your travel winds its way through some of Rhydin's rougher back streets. Turning the last corner, however, you note a marked difference. The street seems cleaner, and the houses in better repair. The northern side of the street is a single long, tall, rough-cut stone wall - its only distinguishing feature a heavy oaken door smack in the middle of it. Tonight, this entrance is flanked by four burly men, wearing black tabards emblazoned with a golden gryphon (a keen eye may notice that the beasts are worked in bullion thread - rather extravagant for a common guard). Three feet of naked steel are held in one hand at ?shoulder-arms? by each guard, while the other hand holds what appears to be a small, automatic machine pistol (Antonio has always collected the best of both the hi-tech and magical worlds, so this may not be surprising). A fifth man stands in the shadow of the guards. Swarthy and whippet-thin, he is dressed nattily in a black suit, black tie, and black shirt. As you approach, he checks your name off the guest list, and opens the door, allowing your party to pass. When moving from the street into the garden's proper, it is difficult to miss the fact that the walls surrounding the enclave are fully five feet thick.
(Those of more esoteric bent may notice the presence of strong wards around the property. The gardens are heavily shielded, hence it is virtually impossible to apport in or out of the grounds, without being attuned to the wards - as you are entering as a friend, and with permission, the wards may feel more comforting than anything else)
The Hedge Maze
The surface under your feet changes as you enter the gardens. The path is covered with a good few inches of ivory-colored pea-sized gravel. Close cropped holy-hedges, fully 12 feet high, outline a simple but interesting maze. There are three paths here at the entrance - for the purposes of this evening, the paths to the left and right have been roped off with gold-velvet ropes. It is clear that the proper choice for the party is the northern path which has been lined with twinkling fairy lights. The maze twists and turns, but there is only one path, so getting lost would be difficult. The path ends with a bronze, verdigrised statue of a willowy-looking dryad twined around a goat-footed faun. At the foot of the statue white dwarf rose bushes in delicate clay pots shaped into folded wings have peen placed, each decorated with more fairylights and tiny gold bells that chime in even the slightest breeze. To the left, the path opens out into a large, central courtyard.
(Again, for the psychically sensitive, the maze may have a deeper meaning. It has been laid out in an analog to the ?spiral-dance? and is used as a centering and calming pattern - if one were to open themselves to it, one might feel refreshed, centered and recharged by the time they reach the courtyard)
The Temple (closed off for the party)
The left hand path makes only two turnings before opening out into a large courtyard. The crunch of gravel gives way to the cool smoothness of polished Italian marble - the creamy smoothness of the stone shot through with veins of rose, gray and gold. In each of the cardinal directions is a bronze statue of a goddess. Closer examination would reveal that the Northern statue is Umbrea (Goddess within the Underworld), the Eastern is Diana (Goddess of Fertility), the Southern Losna (Goddess of Light), and the Western, Manea (Goddess of night spirits and the dead). The round central temple is very definitely modeled on Romanesque lines, with tall soaring columns supporting a clay tile roof. The center of the roof is open, to allow the moon and stars to cast their light upon the central altar, a cube made of alternating black and white stones.
The Desert Grotto (closed off for the party)
The path to the next area is windy, but short - one statue graces the dead-end path - a well-endowed Sylvanus - appropriate as the God was proported to like to hide in his woods and startle unwary travellers. Eventually, the path opens into either a piece of heaven or a slice of hell, depending on your orientation. The ground here is fine, white sand. To the right, a silver and green desert-dwelling tree stands lonely vigil. The area continues to the north. Both sides are adorned with alternating stone benches and firepots, which, when lit, give the area a striking orange-red hue. The far end is a large rock grotto, studded with more firepots. The rock wall is a curiously orange colored stone. A small table of the same stone is nestled into the grotto.
The Central Courtyard
The terrazzo stone flooring of this area seems a fitting base for the monstrous fountain in the middle. The statue in the fount is of Neptune, shown riding two fantastic fish. Mer-folk flank the God on either side, water pouring from their open mouths, and from the tips of the God's trident. Garlands of more white roses drape each of the figures necks. Subtly changing lighting glows forth from the pool, making the statues seem at times to be moving. In the corners of the courtyard, are dwarf fruit trees, one each of orange, lemon, lime, and pomegranate hung with more tiny bells to chime in the breeze. The courtyard has exits in each of the cardinal directions.
Along the wall to the formal gardens a buffet has been set up. The food is all arrayed on a long curved table, stacks of glittering china painted with a delicate gryphon border rest at either end, next to large baskets of bread rolls in different fantastical shapes and textures. There were Gryphons of wheat bread and pegasi of white, unicorns of a rye so dark it was nearly black, and dragons of a soft red that smelled of tomatoes.
Next on the table were finger foods. Large crystal bowls of iced shrimp cocktail. Trays of tiny fruit tarts. Fruits and vegetables dressed into the shapes of animals, black olive and carrot penguins, celery crocodiles, green olive frogs, coiled apple ring snakes and turtles fashioned of chocolate dipped strawberries. Along side that were trays of sliced cheeses and crackers.
Then salads - a light one of mixed greens with a choice of dressings, a chilled pasta salad smelling of garlic and peppers, and a fruit salad topped with a light cream sauce.
In the center of the table came the main course items: Salmon portions baked into pastry shells in the shape of fish, Grilled chicken breast in a light lemon herb sauce, thin sliced roasted beef curled into pretty rosettes secured with a pastry leaf.
The sweets course was laid out on rolling carts ready to be served after the meal was eaten. Large fluffy slices of angel cake, topped with berries in a rich red sauce that held a faint whiff of rum - each slice piled high with whipping cream and accompanied by a brightly colored pegasi made of marzipan, each one a different shade.
Tables draped in white cloths, with a tiny dwarf rose bush in the center rest around the courtyard, each with seating for no more that six people. Each place is set with snowy white napkins, table silver with handles shaped into feathers, and crystal goblets with stems formed as faceted Gryphons in flight.
Ampitheatre and Pine Woods
The fragrance of pine and fir dominates this area - heavily wooded, the dry dirt path beneath your tread is strewn with needles and the occasional pine cone. Directly to the east, the trees open up to reveal a large ampitheatre stage. Tonight the stage is dressed in a style vaguely reminiscent of what might be considered Arabian fantasy. Lattice work screens back the seating for a small group of musicians, draped artistically in semi sheer pastel silks. Gryphon-shaped urns holding more white roses flank each side of the stage, each rearing on its hind legs and seeming to roar combatively. Large, low wooden benches are in place for those who wish to sit and watch whatever entertainment may be available. Hooked on to the ampitheatre is the residence of the caretaker of the gardens - locked off for the party. The occasional stone bench is a welcome site along the path, again set out with those tiny fairy lights through the area. A secondary clearing is surmounted by a marble statue of Venus, rising from the sea atop a shell.
Lothlorien Forest
From the moment your feet touch the rich, moist earth of the path through this area, you can tell something is different. The air itself seems charged with vital essence - as if everything here were somehow more alive, and more aware. The trees are truly startling - the bark is smooth and gray, and the leaves, here at the turning of autumn, are still green at the centers, but are turning to luminous gold all around the edges. The path winds through this sacred wood, through two clearings that have wicker benches that allow one to rest and contemplate whatever they might. No statuary is found in this wood - the arts of men could not compete with the natural perfection of these eldrich trees. The only thing that seems to have been added for the party are tiny butterfly shaped lanterns the size of a mans fist that seem to float in the air, carrying a long white silken ribbon, and outlining the path.
The Formal Gardens (closed off until after the party - then the guest houses will be open for those wishing to stay the night)
Stepping through the wrought iron gate, opens up a tableau quite different from the rest of the area - these formal gardens are obviously inspired by gardens of the Orient. Stone lanterns alternate with stone benches and close-cropped bonsai all around the perimeter of the space. In the four corners are four small ?huts? - small guest houses, each with a bed, a wash basin, and a small dresser and chest. Against the eastern wall, a cherry blossom tree stands between the guest houses. On the western wall, a small shrine stands. In the center of the area is a large, almost moat-like pond, surrounding a raised island. The island is reached via one of four aching wooden bridges, one at each cardinal point. Beautiful formal gardens surmount the close-cropped grass of the island, which, at its highest point, is crowned with a hexagonal gazebo. The sides are of rice-paper, allowing any of them to be opened to the air. In the center is a low brazier-style fireplace, with room for a number of people to sit on the many rich cushions strewn about the room. The pond itself teems with life - koi swim the waters, vying with frogs to keep the insects down. Numerous water plants thrive in the water. The overall effect is serene, calming, and pleasant.
Approaching the Gardens
There are parts of Rhydin City that are beautiful, well kept, and luxurious. Your destination lies not within these environs. Your travel winds its way through some of Rhydin's rougher back streets. Turning the last corner, however, you note a marked difference. The street seems cleaner, and the houses in better repair. The northern side of the street is a single long, tall, rough-cut stone wall - its only distinguishing feature a heavy oaken door smack in the middle of it. Tonight, this entrance is flanked by four burly men, wearing black tabards emblazoned with a golden gryphon (a keen eye may notice that the beasts are worked in bullion thread - rather extravagant for a common guard). Three feet of naked steel are held in one hand at ?shoulder-arms? by each guard, while the other hand holds what appears to be a small, automatic machine pistol (Antonio has always collected the best of both the hi-tech and magical worlds, so this may not be surprising). A fifth man stands in the shadow of the guards. Swarthy and whippet-thin, he is dressed nattily in a black suit, black tie, and black shirt. As you approach, he checks your name off the guest list, and opens the door, allowing your party to pass. When moving from the street into the garden's proper, it is difficult to miss the fact that the walls surrounding the enclave are fully five feet thick.
(Those of more esoteric bent may notice the presence of strong wards around the property. The gardens are heavily shielded, hence it is virtually impossible to apport in or out of the grounds, without being attuned to the wards - as you are entering as a friend, and with permission, the wards may feel more comforting than anything else)
The Hedge Maze
The surface under your feet changes as you enter the gardens. The path is covered with a good few inches of ivory-colored pea-sized gravel. Close cropped holy-hedges, fully 12 feet high, outline a simple but interesting maze. There are three paths here at the entrance - for the purposes of this evening, the paths to the left and right have been roped off with gold-velvet ropes. It is clear that the proper choice for the party is the northern path which has been lined with twinkling fairy lights. The maze twists and turns, but there is only one path, so getting lost would be difficult. The path ends with a bronze, verdigrised statue of a willowy-looking dryad twined around a goat-footed faun. At the foot of the statue white dwarf rose bushes in delicate clay pots shaped into folded wings have peen placed, each decorated with more fairylights and tiny gold bells that chime in even the slightest breeze. To the left, the path opens out into a large, central courtyard.
(Again, for the psychically sensitive, the maze may have a deeper meaning. It has been laid out in an analog to the ?spiral-dance? and is used as a centering and calming pattern - if one were to open themselves to it, one might feel refreshed, centered and recharged by the time they reach the courtyard)
The Temple (closed off for the party)
The left hand path makes only two turnings before opening out into a large courtyard. The crunch of gravel gives way to the cool smoothness of polished Italian marble - the creamy smoothness of the stone shot through with veins of rose, gray and gold. In each of the cardinal directions is a bronze statue of a goddess. Closer examination would reveal that the Northern statue is Umbrea (Goddess within the Underworld), the Eastern is Diana (Goddess of Fertility), the Southern Losna (Goddess of Light), and the Western, Manea (Goddess of night spirits and the dead). The round central temple is very definitely modeled on Romanesque lines, with tall soaring columns supporting a clay tile roof. The center of the roof is open, to allow the moon and stars to cast their light upon the central altar, a cube made of alternating black and white stones.
The Desert Grotto (closed off for the party)
The path to the next area is windy, but short - one statue graces the dead-end path - a well-endowed Sylvanus - appropriate as the God was proported to like to hide in his woods and startle unwary travellers. Eventually, the path opens into either a piece of heaven or a slice of hell, depending on your orientation. The ground here is fine, white sand. To the right, a silver and green desert-dwelling tree stands lonely vigil. The area continues to the north. Both sides are adorned with alternating stone benches and firepots, which, when lit, give the area a striking orange-red hue. The far end is a large rock grotto, studded with more firepots. The rock wall is a curiously orange colored stone. A small table of the same stone is nestled into the grotto.
The Central Courtyard
The terrazzo stone flooring of this area seems a fitting base for the monstrous fountain in the middle. The statue in the fount is of Neptune, shown riding two fantastic fish. Mer-folk flank the God on either side, water pouring from their open mouths, and from the tips of the God's trident. Garlands of more white roses drape each of the figures necks. Subtly changing lighting glows forth from the pool, making the statues seem at times to be moving. In the corners of the courtyard, are dwarf fruit trees, one each of orange, lemon, lime, and pomegranate hung with more tiny bells to chime in the breeze. The courtyard has exits in each of the cardinal directions.
Along the wall to the formal gardens a buffet has been set up. The food is all arrayed on a long curved table, stacks of glittering china painted with a delicate gryphon border rest at either end, next to large baskets of bread rolls in different fantastical shapes and textures. There were Gryphons of wheat bread and pegasi of white, unicorns of a rye so dark it was nearly black, and dragons of a soft red that smelled of tomatoes.
Next on the table were finger foods. Large crystal bowls of iced shrimp cocktail. Trays of tiny fruit tarts. Fruits and vegetables dressed into the shapes of animals, black olive and carrot penguins, celery crocodiles, green olive frogs, coiled apple ring snakes and turtles fashioned of chocolate dipped strawberries. Along side that were trays of sliced cheeses and crackers.
Then salads - a light one of mixed greens with a choice of dressings, a chilled pasta salad smelling of garlic and peppers, and a fruit salad topped with a light cream sauce.
In the center of the table came the main course items: Salmon portions baked into pastry shells in the shape of fish, Grilled chicken breast in a light lemon herb sauce, thin sliced roasted beef curled into pretty rosettes secured with a pastry leaf.
The sweets course was laid out on rolling carts ready to be served after the meal was eaten. Large fluffy slices of angel cake, topped with berries in a rich red sauce that held a faint whiff of rum - each slice piled high with whipping cream and accompanied by a brightly colored pegasi made of marzipan, each one a different shade.
Tables draped in white cloths, with a tiny dwarf rose bush in the center rest around the courtyard, each with seating for no more that six people. Each place is set with snowy white napkins, table silver with handles shaped into feathers, and crystal goblets with stems formed as faceted Gryphons in flight.
Ampitheatre and Pine Woods
The fragrance of pine and fir dominates this area - heavily wooded, the dry dirt path beneath your tread is strewn with needles and the occasional pine cone. Directly to the east, the trees open up to reveal a large ampitheatre stage. Tonight the stage is dressed in a style vaguely reminiscent of what might be considered Arabian fantasy. Lattice work screens back the seating for a small group of musicians, draped artistically in semi sheer pastel silks. Gryphon-shaped urns holding more white roses flank each side of the stage, each rearing on its hind legs and seeming to roar combatively. Large, low wooden benches are in place for those who wish to sit and watch whatever entertainment may be available. Hooked on to the ampitheatre is the residence of the caretaker of the gardens - locked off for the party. The occasional stone bench is a welcome site along the path, again set out with those tiny fairy lights through the area. A secondary clearing is surmounted by a marble statue of Venus, rising from the sea atop a shell.
Lothlorien Forest
From the moment your feet touch the rich, moist earth of the path through this area, you can tell something is different. The air itself seems charged with vital essence - as if everything here were somehow more alive, and more aware. The trees are truly startling - the bark is smooth and gray, and the leaves, here at the turning of autumn, are still green at the centers, but are turning to luminous gold all around the edges. The path winds through this sacred wood, through two clearings that have wicker benches that allow one to rest and contemplate whatever they might. No statuary is found in this wood - the arts of men could not compete with the natural perfection of these eldrich trees. The only thing that seems to have been added for the party are tiny butterfly shaped lanterns the size of a mans fist that seem to float in the air, carrying a long white silken ribbon, and outlining the path.
The Formal Gardens (closed off until after the party - then the guest houses will be open for those wishing to stay the night)
Stepping through the wrought iron gate, opens up a tableau quite different from the rest of the area - these formal gardens are obviously inspired by gardens of the Orient. Stone lanterns alternate with stone benches and close-cropped bonsai all around the perimeter of the space. In the four corners are four small ?huts? - small guest houses, each with a bed, a wash basin, and a small dresser and chest. Against the eastern wall, a cherry blossom tree stands between the guest houses. On the western wall, a small shrine stands. In the center of the area is a large, almost moat-like pond, surrounding a raised island. The island is reached via one of four aching wooden bridges, one at each cardinal point. Beautiful formal gardens surmount the close-cropped grass of the island, which, at its highest point, is crowned with a hexagonal gazebo. The sides are of rice-paper, allowing any of them to be opened to the air. In the center is a low brazier-style fireplace, with room for a number of people to sit on the many rich cushions strewn about the room. The pond itself teems with life - koi swim the waters, vying with frogs to keep the insects down. Numerous water plants thrive in the water. The overall effect is serene, calming, and pleasant.