A witchcraft paint horse is a unique and captivating creature. With its strikingly colored coat and mysterious history, this breed has become a symbol of magic and enchantment. The term "witchcraft" refers to the practice of witchcraft, which is often associated with magic, spells, and supernatural powers. In the case of the paint horse, this connection can be attributed to its stunning coat patterns and vibrant colors. Paint horses are known for their distinct coat patterns, which are caused by the presence of two colors on their body. These patterns can range from simple markings, such as a solid-colored head or a few spots, to elaborate designs that cover the entire body.
I’ve been (unfortunately far too slowly – sorry H) been working on a local house (probable 17th – early 19th house with earlier feature). And (again too slowly – sorry D) on preparing a workshop for a public history project that I co-direct. So I’ll hopefully be able to say a little more about those over the next few months.
Over the next few weeks months I intend to communicate some of the small discoveries that I ve made over the last year or so the first being from the prolonged holiday that I took last year of 4 nights extended to 5 when in situ rather than the usual one or two days off a year usually spent mostly in travelling dashing from site to site as teaching research prep. Given the general resemblance of the witch and child in the foreground to traditional representations of the Madonna and Child see, for example, The Met 30.
These patterns can range from simple markings, such as a solid-colored head or a few spots, to elaborate designs that cover the entire body. The combination of different colors on a paint horse's coat gives it a striking appearance that is often associated with magic and mysticism. Apart from their captivating appearance, witchcraft paint horses also have a rich history.
Beautiful Buildings and Back to (an adjusted) Life
Some of the wonderful buildings I overlook during writing!
It’s been a very long time since I’ve been able to teach or work on community projects, or get too involved in research – or indeed write here (or anywhere else).
But thanks to the often kind & helpful advice and support over the last few year of various local hospital consultants & rehabilitation clinics (different sort of rehab to that which Amy Winehouse sang about!), I’m now (I hope) in a position that I might try to return – very slowly & carefully – back to (a less intense) normal.
Unfortunately, if able to conduct tours at all, they’ll now be limited by what seems to be permanently reduced mobility, but I’m hopeful that with support, I’ll still be able to do occasional short house & garden tours, if not the multi-site quick-march romps around town & country that I used to do. And I’ll continue to develop digital tours, which informed by my own disabilities, I might work towards providing material accessible to a wider audience.
I have, however, not been completely idle (I couldn’t entirely keep away from my work – I love it too much!), and in having to contemplate & put into practice adjustments in everyday life, I’ve also been thinking on & trying out new approaches to teaching & research (expanding topics, as well as tweaking existing projects).
For example, I’ll be experimenting with some of the rather snazzy technology that I recently encountered, which I anticipate could be quite fun, as well as providing scope for disseminating informative content in different ways, through digital tours & other forms of engagement with the historic environment.
Over the next few weeks & months I intend to communicate some of the small discoveries that I’ve made over the last year or so – the first being from the ‘prolonged’ holiday that I took last year (of 4 nights – extended to 5 when in situ – rather than the usual one or two days off a year – usually spent mostly in travelling & dashing from site to site as teaching research/ prep). Unfortunately this provoked a further decline in health, rather than the improvement that I had hoped for, preventing me from revisiting my findings until very recently.
2018 Holiday Accommodation! (Projecting wing belonging to separate accommodation.)
I stayed in the most wonderful of places – a merchant’s hall not far from my favourite place away from home: King’s Lynn, Norfolk. The fine Early Modern building proved to be of great interest, enabling leisurely probings that might provide comparisons for the studies of housing & gardens I conduct as part of the LIP community archaeology project that I direct; and ritual protection inscriptions / incisions (‘witch-marks’ / ‘folk-magic’) for the ‘Malefic Midlands‘ project that I direct.
I’m now back in King’s Lynn – again in a fantastic building & location, staying in a mid-eighteenth century merchant’s town house this time (adjacent a late Medieval / early modern complex & numerous other superb historical buildings, as well as a churchyard & minster containing some interesting grave memorials). So I’ve again been able to feed my interests, ogling & photographing. Today I intend to take a look at the extant features of my interior surroundings, and as usual snap away at paint-chips & the like – the products of which I’ll add to my online photo-banks (e.g. here), posting some here too soon.
Where I’m staying now (behind the numerous first floor windows)!
I’ve been (unfortunately far too slowly – sorry H) been working on a local house (probable 17th – early 19th house with earlier feature). And (again too slowly – sorry D) on preparing a workshop for a public history project that I co-direct. So I’ll hopefully be able to say a little more about those over the next few months.
I’ve also been gradually preparing an expanded range of talks & workshops – to be delivered variously between autumn this year and 2021 – for my principal commercial website – which reflects my extended research; I’ll say more about these here as I develop these further & are closer to being ready for delivery.
Due to limited time & constrained financial resources, from now on I’ll generally only be able to take group bookings, though sessions may be accessible to individuals & families if organisations such as museums take them up. I might also again provide occasional events at the ‘Antiquarian Academy‘. (In both cases I’ll give my mailing list priority notification as usual, if possible.)
So for now I’ll sign off, so that I might spend the remaining holiday (checking out tomorrow morning) further enjoying the lovely building & views of wonderful Lynn.
View from one of the rooms in which I’m writing!
Seventeenth, Eighteenth, and Nineteenth Century British Paintings. Sotheby's, London. July 9, 1980, pp. 108–10, no. 79, ill. (color), as the property of a gentleman; states that "its appearance . . . at Penkill Castle must have been at the instigation of David Scott, who was influenced by Fuseli and who was a close friend of the Boyd family".
Paint horses are said to have originated from the Native American tribes of North America, particularly the Comanche and Apache tribes. These tribes held a deep reverence for the horse and believed that the paint horse possessed supernatural abilities. In Native American culture, the paint horse was viewed as a spiritual guide and a conduit between the physical and spiritual realms. It was believed that the unique coat patterns of these horses held powerful symbolism and could protect their riders from evil spirits and bring good luck. Even today, the magic and allure of the witchcraft paint horse continue to captivate horse enthusiasts around the world. They are often sought after as show horses, as their stunning appearance and unique coat patterns make them stand out in the show ring. Their playful and friendly nature also makes them popular companions and trail horses. In conclusion, the witchcraft paint horse is a breed that embodies the magic and enchantment associated with witchcraft. With its striking coat patterns and mystical history, this horse continues to captivate the imagination and hearts of people worldwide..
Reviews for "Unleashing Your Inner Magic: The Empowering Influence of Witchcraft Paint Horses"
- John Doe - ★☆☆☆☆ - I was really disappointed with "Witchcraft paint horse". The storyline was incredibly boring and predictable. The characters lacked depth and I couldn't connect with any of them. The dialogue felt forced and unrealistic. Overall, I found this book to be a complete waste of my time.
- Jane Smith - ★★☆☆☆ - I had high hopes for "Witchcraft paint horse" but unfortunately, it fell short of my expectations. The writing style was dry and uninspiring. The plot had potential, but it was poorly executed. The pacing was off, with long stretches of nothing happening followed by rushed and confusing scenes. I struggled to stay engaged and ended up feeling let down by this book.
- Robert Johnson - ★★☆☆☆ - I couldn't get into "Witchcraft paint horse" at all. The characters felt like cardboard cutouts and the dialogue was stilted and unrealistic. The descriptions were lacking, making it difficult to visualize the settings and immerse myself in the story. The plot was weak and unoriginal, lacking any surprises or twists. I was left feeling uninterested and underwhelmed by this book.
- Sarah Thompson - ★☆☆☆☆ - "Witchcraft paint horse" was a major letdown for me. The writing was amateurish and filled with cliches. The characters were one-dimensional and their actions often didn't make sense. The plot was predictable and lacked originality. Overall, this book felt like a waste of my time and I would not recommend it to others.