Kari and Ciara wants to enjoy a leisurely stroll through the city with their husband, so we take our time and walk arms in arms toward the potter with the wagon slowly rolling in the background. There's three potters in Borgarsandr, and again I follow Kari's advice, and the woman we're heading to is known for her fine craftsmanship and plenty of options in looks. The earthenware market just isn't enormous in the north. Most doesn't see the point of it compared to wood, and its mostly used for

I'm not really interested in pots or tableware, and what technology I can make will be highly dependant on what the potter can make, both skillwise and technologywise. I might think of tableware as porcelain, but I know that isn't always the case. Porcelain is a specifikt type of goods, and I don't know the distinction. Its usually white and very hard, but I don't know if thats the basic type or just 'cheaper' or something. I've seen porcelain in tableware, electrical insulators and chemistry goods. I know a couple of other terms like earthenware and stoneware, but I don't know their distinction either. It might just be types of clay, treatment, fireing process or something else. I've never really cared before comming here. Earthenwares name make me assume its the simplest type, but even I know there's different types. What I know of potter can pretty much be summed up in; right clays, make something, let it dry, fire it slowly until preferably redhot in a kiln, let it cool slowly. The fireing probably take days. Either ash, brine or metals like tin and lead can be used for glazing, but I don't know exact process. And I know it was a big deal in different regions which exact clay, process or decorating style with something called transfer, and they exported it to others, depending on fashion and so on. Oh, and a few things like crushed animal bones mixed in to make something like porcelain, since vegans won't buy that, and a long sectioned kiln on a slope.

The potter is a woman, with a couple of apprentices and a male slave. She makes and sell all types of earthenware, in all kinds of finishes and decorative style. Some obviously plain and cheaper, others very pretty. Some more untreated like a terracotta flowerpot and unglazed, others with a lot of differences, in the grey-beige-brown-orange-green scale of colors. Some very spotty in color, other more uniform. She even have a couple of beige pots with the classic blue decorations, although there isn't much fine detail. She's quite proud to show her goods, and she obviously know my reputation as she wonder if I need any special items made.

She have no idea. She might regret saying that in an hour or so. She obviously doesn't want to give away her craftman secrets, and her work area in the back has a high fence, but I would really like to know, and if I might have any ideas to improve her craft. I'll need to get her trust first, and test her craft. We talk a bit and her grandfather was a potter from way down south, and although she doesn't say it, I sort of get the impression that he was a slave brought here for his craft, and he mother was the daughter of another potter from just south of the sea, who might not have volunteed to travel north. Anyway, pottery have been in her family for generations.

I have plans and a lot of sketches, but I first show the drawings and sketches on different insulators, and explain how to read them. If she's going to be doing what I need, she need to learn this. I also give her a meterstick.

The insulators can be used to keep electrical wires apart so that they don't short-circuit, or to make a free-wire ladder as a supply wire for radio antennas. Another model is for attaching electrical wire to a wall, and has a hole for a nail. Another model to work like antenna insulator to hang wires from a rope etc. Order 20 of each, but 80 of those to be nailed. When I start installing electrical wires, I'll go through them like a hot knife through butter, but I want to wait to order more until I see her craftsmanship. I need them waterproof, and asks to get everything glazied. I don't care which technique she use, or color, as long as there isn't any metal in the glazing - which makes her react. I need waterproof and durability as some of them will be outdoors, and I prefer a cheaper way to do it.

I also want vessels for lead acid battery cells, so I show her the drawings and order rectangular vessels with an edge for an internal lowered lid. A lid that has a narrow elongated cut in two longside corners for the electrode to come up, and a larger round hole on the other end to fill in and empty the acid. We talk and I ask her to try to make screw caps for the hole even if the thread doesn't have to be perfect. In a way its better if it isn't gas tight as there will be hydrogen gas bubbling up, but a screw cap is better than a conical plug when there is acid inside.

The shortsides have groves to help hold plates, and there should be an even and the same number of groves on each side, preferably many. Its for a test with stacking multiple plates, but she will also make a thin ceramic comb like plate to be in the middle of the vessel, preferably with wedge-shaped grooves on the short sides that separate the vessel into two compartments and prevent the plates from touching each other when I try zig-zag style, perhaps even cut with a knife for increased the surface area. It would be best to fill the battery vessel with lead plates and stack the poles alternately, but its difficult with this technology, and these are prototypes and I don't need high output power or capacity. These won't work to start a car. This will be the alpha prototype, but I might be able use stacked plates. Short circuit is bad, and I would like something thin and non conducting to separate the plates, that still lets acid through. I can't have the plates close to the bottom either since I believe stuff will accumulate down there.

Since the vessels are supposed to be lead-acid cells, I ask to get them well glazed on the inside and explain that I will store acid in them. It takes some time explaining, and neither of us know which treatment will work the best. I ask her to buy a small amount of 'Oil of vitriol' if she can, and pour it in a couple of mugs or something and see it there's any change for a couple of days. She ask what I'm storing it in now, and I feel stupid as I realise its in earthenware jugs.

Okay, so just pointing at her goods for sale solved that one. Doh.

Its an advantage if all the battery cells are the same size, so I can build a wooden box that combines several cells to get a battery. I ask to have them made so the outside is the same size, maybe with a mold or guide, and I hope she can make them as similar as possible so that stack side by side, and have each vessel-lids-screwcap labeled with numbers, so it is possible to determine which ones made to fit together. I also don't care about the vessels outer finish, the inner shapes and surfaces is important, which is a new experience for the potter. It is usually the opposite. The groves on the sides are important, and that there are an even amount, so she will try to make those with a tool too. Its all even more complicated as the vessels are quite small, and only about half a square decimeter in area inside. I leave exact dimmensions up to her, to let her find something easier to make. In the future I would probably like to have a few really small cells like a form of supersized 9V battery to make electrical stuff portable.

The potter and her apprentices are incredibly curious what it is for, but I don't know how to briefly explain it, even if I wanted to, so they have to continue to be curious.

I order 15, so there can be three batteries with four cells in each to get 8V battery, or two batteries with six cells in each for 12V. What I need is the battery to work for 5V USB. I will perform destructive tests on a couple of vessels as well. There will be sulfuric acid in them, so it feels like a good idea to know how the vessels react to blows, shocks or drops. If these lead-acid batteries work as intended, there will be so many more in the future, but certainly of improved design, and probably in a couple of different sizes, so I ask her to save any tools or guides.

The potter seem to think that was it, so when I lay the next project on her I can almost her the 'oh boy...'. I give her several of the parts for the drum brakes that I just picked up from Digraldi. And they who thought the other projects were weird. But it is quite easy to explain how it should fit together, and she will try to make several brake pads of different types and a couple with different glazing on some of them, and with slightly different internal reinforcements in the form of horse hair and other things, and also try weave of them. This is a low priority job, so it will be after the battery cells.

Then she gets the job of making are eartenware sinks with water traps. I order six sinks to test that they work. Its quite easy to explain how it should work when it is finished, and I again explain how the drawings and sketches show a cross section. Pour water in the sink here, and it should stop and cover the lower part of the double U shape, and there should also be a loose bottom plug to block the drain when needed, and another normally used bottom plug with holes to let the water through. Then I add the drain pipe sections that can be stacked together to connect the sink drain to the floor drain, and all the narrower water pipe sections from the pump. Which is a lot due to the distance needed. Both are mostly straight sections, but there are a few angled sections. Everything of course glazed to be waterproof.

When they understands the monumental amount of work I'm asking them to do, the potter asks if its okay for her to give her colleagues a few of the simpler jobs, like all the pipe sections. She will of course oversee and make sure its okay as I've described.

I of course agree to it. I need it done, and it will give me an idea of the other potters too. I give her a down payment, and before I leave, I order more crucibles with simple matching lids. Fourty of them. I will need them sooner or later, but its the lowest priority. I should build a better smelter and furnace for larger quantities than continuing to work with crucibles, but its a future project like so so many others. I buy the five 'crucibles' she has, and more matching clay.

The potter and her apprentices have definitely taken on a hell of a lot of work, and I suspect I will keep Borgarsandr's potter's busy for the next few weeks. But all projects are important in their own way, and I will have more work in the future.

We take the wagon to the glassmaker, and he's pleased when I accept the deckprisms. They seem to be okay, and they weren't particularly expensive either. A lot of glass, but not a lot of work, and no high demands on the finish, that there surface on the undersides V shape isn't perfect doesn't matter, and will just spreads the light more. I'll be interesting to see how much difference these eight will do on my ship. I asks if he can make something like battery cells, but he shakes his head when I sketch it out and says he unfortunately can't do it. Oh, well. I ask if it is possible to make glass bottles instead, by blowing out a bottle against a mold. He thinks about it, is hesitant but willing to try, which I accept. The glassmaker has definitely heard about the insane amount of windows I'm ordering, so he certainly hopes that I will start ordering lots of him as well, but it may not be too complex things. He also makes windows, but that is not his primary occupation. Guess they divided up the work between them, and it wasn't an issue since glasswares and windows where small niche markets before I got here. I'll never order the same amount of technical or other glass, as I've done with windows, but I will have a lot of smaller use for technical glass like prisms, lenses, lantern and oil lamp glass, glass bottles, glassware for chemistry and so on.

We continue to one of the carpenters I used before, so I can order the scaffolding to attach the wind turbine to the mansion. The scaffolding is not particularly advanced, pretty much parallel beams, but the wind turbine is cumbersome to handle and everything will still weigh, so I designed so that the scaffolding has a little leverage when you hoist it up and down, and a sprint lock it in place, and that the rope is secure for extra safety. It will be the same solution that boats use when attaching to jetties, and ropes for sails, but with readymade loops as there will only be two positions. Raised or lowered. Or well, its not the solution they use here for docks and sails, but the modern Midgard solution. There is also a lock to secure the windplant from rotating like hell in a storm.

The wagon maker have made progress on the carrige, but not unexpectedly there are intricacies and problems, and they had misunderstood my drawing in a couple of places. Which, however, they realized and they have redone a couple of parts and tried to change the type of wood as well, so the solution with small wheels to make steerings guide ring rotate more easily will work as intended. He finds it silly that he as a wheelwright had missed some parts was suppose to rotate, and he felt stupid when they realized their mistake, especially since their solution was a lot more work to do. But the carriage prototype is moving forward, even though much is in parts right now, and in four days the carriage should be ready, so he has already ordered the leather-covered cushions for the benches and backboards and some parts remade in brass. They will also oil it in like better furniture, to protect the wood against rain, which is the reason its taken apart, and they have started treating some parts. I asks him to start on the roof as well. It is mostly to shelter against rain and together with future draperies to shelter against the wind, and is basically tent fabric with some inlaid channels for wooden slats for the shape and avoid it becoming a bulging leaking puddle on the roof. It won't really protect if it really rains and storms, and it might break in storm winds, but its better than nothing. This carrige will be a convertible.

Ciara, Kari and the guards watch in fascination as we hang on the back and try how the suspension moves on the rear trailer. I will probably work quite well, but should do some form of damping if they hit the bottom, instead of wood hitting directly on wood, which they do if everyone pile on and jump up and down. I wonder what will break first. There's progress, but on the way back to the farm I realize how damn much I want a better wagon, and my company seem to start to understand.

Next time...

Robert is frustrated with the ship's winch. Some kind of small mistake he made, which even though it apparently can be corrected without much cost or time, will be 'ugly' and it irritates him. No one else will ever see or think about it, which he is very well aware of - but it irritates him so much. He complained about wanting to redo the whole system from the beginning, just because it will be on his ship so he will always be reminded of it - reminded of the mistake and its ugly fix - and it's so adorable. But he ultimately chose to accept it.

Apparently more about the time to replace it and to learn from it, than the cost, but it's good that he at least thinks of saving silver. I've been a little worried about the future considering how he has spent silver since I met him, but I have no doubt that he will always have the opportunity to sell more things without major concerns, and he understands to invest in land and properties outside his islands - he just hasn't prioritized it yet. However, I got an interesting lesson in 'sunken cost fallacy', the cost of research and development, and one-time costs, and I managed to get him to continue and give me a huge amount of interesting economic history and theories from Midgard. Its apparently also important that the 'silver rolls' to speed up an economy and not be put in a big pile by a few, and I understand the benefits and the problem. Especially after his lesson.

I don't think this world is ready for central banks, fractional security, paper money, that kind of lending of silver, insurance and stocks. Very useful, and could certainly become very rich, but it's so much trouble with it too. Which he knows. Just our discussion about possible banking between larger towns was very interesting. Especially on how to verify holdings, prevent forgery of documents, hashes and prevent intermediaries from learning secrets. His knowledge in what he calls cryptography with secret messages and other things is much too advanced, but very very useful as well. I doubt I even got half of it. It's no wonder that math is so important in Midgard. Robert thinks very far ahead, and on details, and I wonder how common all that knowledge is in Midgard. But is also provides more important information about how Midgard is and works, and it's fun to hear 'historical anecdotes' where everything from seashells, huge stone rings and flowers functioned as silver on various occasions and places. No matter how much I would like to argue otherwise, silver and gold doesn't really have any value, other than what we all agree on and how hard it is to create more of. Silver and Gold is bad for pretty much any other use than jewellery or dinner cutlery. It was fun to see that Midgard use a thin layer of gold on 'electrical connectors' because it doesn't rust. Imagine using gold on such things!

When I asked, Robert showed me the coins and banknotes he had brought with him from Midgard, and told me what he had sold two for. Such craftsmanship and so beautiful! I understand why they were sold for those sums, because they are worth more than that. Just how they shimmered and changed colors like the wings of a butterfly! Small works of art that are completely identical, made with incredible technology, and with a lens he showed how fine the details really are. Details that can't be seen with just the naked eye, specifically to make copying more difficult. Banknotes are much more practical than silver and gold and so much easier to carry and store in huge numbers, but nothing like that can be created here - which proves their value more than silver and gold which can be less pure, and is incredibly heavy. So impressively beautiful, and I want a dress that shimmers like that. If Midgard has such incredible works of art as common payment, how is the best clothes and jewels?

I want to make this evening special too, because Iselin will probably return tomorrow, but also to reward Robert for his sometimes common sense and that he shares valuable information with me. The things I have come up for the future will take a few more days to be sewn. Maybe I should make it special for me? Robert probably appreciates it too, and I've been curious since Ciara showed and explained her jewel, and I've heard rumours and tales. I just need to make Robert understand that I don't want to take Ciara's place, or anything that makes her special. The kisses on his cheek before I became his concubine made it clear both how Ciara sees it, and how protective Robert is of her feelings. And I'll happily let her have the cheek kisses, as long as I can sit on his lap and enjoy his tongue.

The ship's winch is finished, and I think I over specified it 'a bit'. I can't really test as the ship is away, but using the logs in the roof it can easily handle 120kg even without 3-way block and tackle, so with them it should be just as easy to use for heavier weights up to 300-400kg, as long as the rest of the crane can handle it. Its quite thick too, so it should. I assume I lifted about 120kg, since thats what I roughly assume Gunhild and Hillevi weighs together.

The winch with its lifting and locking latch as well as centrifugal latch seems nice and should be fun to test in real life. It was a bit entertaining to slowly winch the rope in when Alith and Hillevi did their best to hold back, and even more entertaining when they tried to run away with the rope from the winch and the centrifugal latch kicked in. Gunhild has repeatedly reminded Hillevi, of how she flew and fall flat on her back. I was worried that she had hurt herself where she was lying and in pain, while Gunhild was doubling over with laughter.

But it is one thing to make a drawing and another thing to see it in front of you, and I rather overspec than underspec, especially with lifting and hoisting things. A safety margin isn't just a good idea, its stupid to not have. It made the winch a little unnecessarily heavy, but it helps it to function as the cranes counterweight. It bothers me, however, that I had to do an ugly solution on the centrifugal brake, but I can cover it with a wooden box. The brake, gears etc will of course need some protection from curious fingers or items.

Kari's wish surprise me than it should, but she was a god damn virgin just five weeks ago. Then again, I've been taught a lot of new experiences the last two months. I can understand that she has wondered ever since my collapse after the murder, and Ciara's desperate way of trying to comfort me. And they all talk to each other. Especially about sex when I'm not around, and she was probably reminded on the beach. Kari likes to experiment, and it probably only took this long due to her IUD. If she thinks it's time for me to take her anal virginity, I'm honored to do so.

So we take it slow and thoroughly.

Considering how she reacts when she enjoys something, it won't be the last time, and considering how she uses the muscles in the abdomen and buttocks when she comes, I won't complain.

She has such a wicked and pleased smile when I tell her that she doesn't have to worry about taking a niche from Ciara, I never was only hers. Since Ciara got her IUD, she prefers vaginal sex between us, although its partly for my lessons and fuss about cleanliness and bacteria that can be a problem if it is moved around. Ciara prioritizes mine and her health, so we can live together for a long time. But she likes wearing her plug, which we all discovered at the beach if they didn't already know, and she usually wears it when we have sex. And its not that often we have sex.