I am no bird; I am burnt saltwater mixed with air

Courtney | 21 | ♏ | INFP | Amor Fati | Φ

Those who dwell, as scientists or laymen, among the beauties and mysteries of the Earth, are never alone or weary of life.

Rachel Carson

kelfie:

I wonder how often my shyness is mistaken for being stuck up because I feel like it happens a lot and I’m sorry about it 

taurielsilvan:

♛ legendarium characters

Dior (F.A. 470 - F.A. 506)

Dior was the son of Beren and Lúthien, and the heir to the throne of Elu Thingol, King of Doriath. Due to his parentage he was one of the Half-elven. Dior was also called Eluchíl (“Heir of Elu”),Aranel (“Noble Elf” or “King of Elves”) and the Fair. He was killed during the Sack of Doriath.

lady-bandicoot:

My Favorite Bloodsuckers - [∞]
→ Claudia (The Vampire Chronicles/Interview with the Vampire)

"Locked together in hatred. But I can’t hate you Louis. Louis my love, I was mortal until you gave me your immortal kiss. You became my mother, and my father, and so I’m yours forever. But now it’s time to end it, Louis. Now it’s time to leave him."

We would watch everything. The patterns of tree branches spreading out…  the thousands of shapes clouds make. I could count the number of leaves on a tree in five hours.

superclones:

FitzSimmons have been the beating heart of S.H.I.E.L.D. since the series premiere, and were often the emotional tether that kept it grounded. “F.Z.Z.T.” remains a series highpoint and it’s because it was the first time the stakes felt real, but it was also the first time the relationship between Fitz and Simmons took center stage. So if you didn’t cry or at least tear up during their scenes this week, you might want to go to the ER and have your heart checked because there is a very good chance you are dead inside. Iain De Caestecker turned in what was probably his finest performance of the season as the episode gave Fitz a chance to play the hero and tell Simmons the truth about how deep his feelings for her truly are.

For her part, Elizabeth Henstridge’s performance was equally moving, first as the realization of what Fitz was telling her played across her face, and again when she refused to accept the plan as it was. “I never had the courage to tell you, so, please, let me show you,” Fitz begged, and it was the saddest thing the series has ever done. [x]

archaicwonder:

Bilingual Sumerian Proverbs, Babylonia c. 2000-1700 BC

Written in Neo Sumerian and Old Babylonian cuneiform on clay, containing 42 proverbs, a folk tale and a fable. This is the only known major bilingual proverb tablet of Old Babylonian origin.

Some of the proverbs say:

-Strength does not compare to the possession of intelligence.

- My strength is my god, but it is finished by myself.

- A swift one caught a gazelle, but a strong man carried it away.

- The small pig roots, “I will not eat it for pleasure” he said.

The folk tale is about a man getting increasingly old, his declining physical abilities, and the effect of a young girl on him. It is the oldest known example of a theme well attested in later world literature. The best known examples are 1 Kings 1:1 ff. and 2:17 ff., Eccl. 12: 1-7, and the Merchant’s Tale in Chaucer’s Canterbury Tales.

remainsimple:

British Museum, London

I never paid any attention to people who told me to go out and live. I belonged always to whatever was far from me and to whatever I could never be. Anything that was not mine, however base, always seemed to me to be full of poetry. The only thing I ever loved was pure nothingness.
—Fernando Pessoa, The Book Of Disquiet (via tracesoftears)
We ought to view ourselves with the same curiosity and openness with which we study a tree, the sky or a thought, because we too are linked to the entire universe.
—Henri Matisse (via singingovertheboness)

kissesjohnlockandgrell:

rgfellows:

dandraco:

hollyoakhill:

do you ever think about how little Michelangelo cared

All right, everyone, grab a chair and sit back because I’m going to share with you what I learned about Michelangelo and the Sistine Chapel in my Art History Class.

The man NEVER wanted to paint the damn thing. But the pope at the time “forced him to” According to my teacher. Michelangelo hated this man, I MEAN REALLY HATED HIM. So did a majority of people. The pope’s nickname translated literally means “Terrible pope”.

And the working conditions were awful. He had to work on his back with all that paint, which is filled with some toxic shit that gave Michelangelo a limp for the rest of his life.
(Also, our teacher made us get on our backs and try drawing with both hands JUST to prove how bad and uncomfortable it is.)

At the time, the ceiling was so high, you could barely see it. You need binoculars to get a good look at what’s up there, by the time people could see the paintings, there was a lot of weird symbolism that Michelangelo hid up there.

This one? The creation of the sun and moon? God is mooning you. And the pope and all others after him prayed under that without knowing.

This one? At the time, dissecting was sacrilegious and everyone found out how behind God was what looked like half a brain. blah blah, science, science, that pissed everyone off.

And also, ALLLLLLL the men and women in the Sistine Chapel are all on fucking steroids. My teacher described the women’s bodies as "Men bodies with boobs slapped on."

And then there is this:

Now this is the back wall. Michelangelo actually wanted to paint this one after he finished the ceiling. (and there was a different pope too, I believe.) However, originally, EVERYONE in that painting was naked. And they didn’t like it. Adam and Eve naked? That’s cool. But Jesus? Now you crossed the line. So the pope at the time hired someone else to censor it and give the important figures clothes. He worked on it for 6 or 9 months before he died.

And then the symbolism in this one is great. Somewhere in the right, there are homosexuals in heaven. (No matter what, the Vatican will say “Those straight men are happy” I’ll get to that in a second), Michelangelo painted himself near Jesus, and the terrible pope is in hell with a snake biting his balls.

And if you were to point ANY of this out to the Vatican, they will deny all of it and claim Michelangelo was a catholic hero. In fact, when they discovered the symbolism around the 60s or 70s, the guy who told the Vatican was kicked out of the Vatican for life.

TL;DR: Michelangelo hated the pope and made the best “fuck you” of all time.

YO. ALL OF THIS^. Michelangelo was hella grumpy all of the time. It was fantastic.

However, as beautiful as this commentary is, I’m gonna make a little correction. The Pope isn’t the one in hell getting his balls bitten; that guy is actually the Papal Minister of Ceremonies a the time, Biagio de Cesena. 

See, when Michelangelo was painting this, as you said, lots of people were uncomfortable with all of the nudity (especially because the Last Judgement [back wall mural] was painted much later when nudity in religious art was even more controversial than before), but the dude who was the angriest was de Cesena. 

He was so angry that he reportedly burst in on Michelangelo while he was working (which is already a big no-no because Michelangelo’s requirements for working were mostly “fuck the hell off and leave me alone or else I quit and I will stab you in the eye with my paintbrush/chisel”.). He then proceeds to tell Michelangelo that this fresco is disgusting and obscene and shame on him etc etc. He also referred to it as “i stui di nudi”, which means “A stew of nudes” which is one of the best descriptions of a thing ever, if you ask me. 

So Michelangelo, probably on the cusp of homicide is like “Thank you for the notes. Now get the fuck out,” and de Cesena reluctantly does. 

Later, he comes to see the finished product and finds that Michelangelo had painted his portrait down in Hell to represent the Minos, King of the Dead. He has the ears of an ass and the above described crotch biting snake:

image

Upon seeing this and being enraged, de Cesena went to the Pope to demand that it be changed and that Michelangelo be punished. However, the Pope was SO incredibly done dealing with Michelangelo’s snark, tantrums, and general hatred of the world and everyone in it, that he didn’t want to do shit. 

The Pope’s response to him was literally to say “As Pope, I have a lot of influence on Earth and up in Heaven, but I have no jurisdiction in Hell. You’re shit out of luck.” 

And it stayed.

Michelangelo, grade A artist, snark master, and professional dick.

image

ALSO
DING DING HELLO YES READ THIS

SO way back in the renaissance as much as people were learning science and shit and making great improvements in learning how to make people look like real people in art, there was still this big obsession with idealizing the figure. Everyone did it.
Like really. Everyone.
And so even though Michelangelo made everyone look like a big buff dude that wasn’t always because he just had a special love for drawing dicks,
The female form wasn’t considered perfect back then. If you were a goddess or something maybe yeah they might make you look like a lady but Michelangelo wasn’t really into the female form
(Despite how fuckin PHENOMENAL his Pieta is)

So when he painted and sculpted women to look more like men it was partially to show off his skill in the masculine form but also it elevated those figures to a higher level of appreciation. Women were still seen as like Eve, especially in the church. So even though they don’t look like women he’s still giving them the same status as a man to make them “better.”

Sorry to add but Michelangelo didn’t actually paint lying down. He designed and constructed his own scaffolding from which he painted standing up, according to Vasari in Lives of the Artists, ‘Michelangelo’ (1568):

"The work was carried out in extremely uncomfortable conditions, from his having to work with his head tilted upwards"

Also, here’s a little sketch Michelangelo drew of himself painting the ceiling:

Also, at one point towards the completion of the ceiling, he fell from the tall scaffolding and injured his leg. He limped home and just kind of hid there in pain for several days until his physician friend found him and helped him out.

Overall, this whole project was just uncomfortable for lots of people but probably for Michelangelo the most.

Moodboard: Wesley Wyndam-Pryce

a-l-ancien-regime:

Bottle, 1994-129-6, early 18th century. early 18th century. Labradorite, gold, carved stone cameos. 

Perfume bottle,  ca. 1750. ca. 1750. Agate, gold. United Kingdom

Bonbonniere,  ca. 1750  curving rococo gold cage work over gray agate. Hinged lid with white enamelled band showing the phrase, “Eloignez de vous rien n’est agreable" (Separated from you nothing is pleasant)

t.