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pagewoman
Mouse eating a walnut.
Roman mosaic from 200 BC.
via Waldemar Januszczak
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Glass Fragment. 13th–14th century. Credit line: Gift of George D. Pratt, 1930 https://www.metmuseum.org/art/collection/search/467332
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Another Lord Peter and Harriet portrait.
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Hieronymus Bosch, Detail from the Triptych of The temptations of St. Anthony
You’ve got a fast carp,
I’ve got a plan to get us out of here
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“In Pieces but Still Holding It Together.” By Bouke de Vries (2020).
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clerics & scribes
from the margins of a "pontifikallektionar", a liturgical manuscript made for abbot peter eichhorn ("peter squirrel"), wettingen (switzerland), 1557
source: Luzern, Staatsarchiv, Pontifikallektionar, fol. 10r and 10v
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[Still Life with Books]. 1870s–80s. Credit line: Gilman Collection, Joyce F. Menschel Photography Library Fund, 2005 https://www.metmuseum.org/art/collection/search/286175
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Snowdrop - costume design by Wilhelm (Charles William Pitcher, 1858-1925) for children performing with the Bell Flower Ballet in the pantomime 'Dick Whittington' performed at Crystal Palace on 24th December 1890.
Watercolour.
© Victoria and Albert Museum, London, 2023
Source: collections.vam.ac.uk
“The most reliable test of friendship I know is to take a snapshot of your friends. Then show it to them. If they forgive you and allow it to make no difference in their friendship then you may be sure that they are true-blue and can be trusted with life itself. There is no test so sure. It will separate the gold from the dross every time and though by this heroic measure you will probably narrow your circle of friends down to a very small compass you will have the comfort [of] knowing that those can be depended upon.”
–L.M. Montgomery, writing as ‘Cynthia,’ Halifax Daily Echo, 12 May 1902
Quoted in Through Lovers Lane: L.M. Montgomery's Photography and Visual Imagination by Elizabeth Rollins Epperly
The Adoration of the Magi (from the Saint Colomba Altarpiece) Rogier van der Weyden, c. 1450-55 Oil on oak wood panel
Strictly speaking, the painting is not a Nativity. Christian iconography is painstakingly specialized. Except for the Crucifixion, no subject was so popular with artists as the birth of Christ, and every separate incident has its own designation and its own artistic traditions. This painting, which had once adorned an altar in Cologne, shows the Adoration of the Magi—the Anbetung der Könige. Though the Virgin is not at the center of the canvas, the composition is so admirable that the beholder’s eye is led inexorably to where she sits holding the Baby on her knee. A benevolent brown cow looks admiringly over her shoulder as the first of the Kings kneels to kiss the outstretched hand of the Child. The colors are wonderful, they smolder on the canvas—the Virgin’s rich blue robe, the scarlet mantle of the second Magi, the crimson-and-gold brocade tunic of the third King. I’ve had a crush on that King since I was sixteen. He is dressed in the height of fifteenth-century fashion, his full-flowing sleeves falling to mid-calf, his legs (a little thin, but not bad) encased in skintight hose. He has just swept off his cap to honor the Holy Family and his brown hair falls in wavy disarray over his forehead. If I ever saw a man who looked like that…
—Elizabeth Peters, Trojan Gold
Source: Wikipedia
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look at this tiny tiny ancient depiction of a goose sheltering babies beneath her wings. 🥺
it's not very detailed but look at the postures of the animals. And the way the goslings are not very young but recognisable as gangly and halfway grown.
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found in LIFE Magazine (Jan 25, 1960)
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WINGS OF ANGELS
Details of the Annunciation to Mary by: Piero Pollaiuolo (1470) / Master of the Legend of Saint Ursula (1483) / Dieric Bouts the Elder (1440s) / Botticelli (1489-90) / Master of Flémalle (1427-32) / Rogier van der Weyden (1435-1440) / Robert Campin (1410s) / Artemisia Gentileschi (1630)
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souls in the winds of hell
(dante and virgil, in the second circle of hell, observe the carnal sinners tossed about by the wind, as in life they were tossed about by their lust)
in an illustrated copy of dante alighieri's "divine comedy", italy, c. 1350–75
source: Oxford, Bodleian Library, MS. Holkham misc. 48, p. 8
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Hands (detail)
Rogier van der Weyden, Philippe de Croy - Seigneur of Sempy 1399-1464
Luis Veldrof, 1823
Gilbert Stuart, Catherine Brass Yates 1793-1794
Quentin Massys, The Moneylender and His Wife 1514
Rogier van der Weyden and Jan van Eyck, Saint luke drawing the Virgin 1435-1440
Rembrant van Rijn, Portrait of a Woman with an Ostrich-Feather Fan 1656
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new arthurian theory that the green knight was the grinch
...is anyone here an artist
I have to do everything myself around here huh
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The Empyrean Talon Abraxas
Gustave Doré, Rosa Celeste (Dante and Beatrice gaze upon the highest Heaven, The Empyrean) The Divine Comedy, Canto XXXI by Dante Alighieri
“Above the Celestial Fire there is an Incorruptible Flame, ever sparkling, Source of Life, Fountain of all Beings, and Principle of all Things. This Flame produces all, and nothing perishes save that which it consumes. It reveals itself by virtue of itself. This Fire cannot be contained in any place; it is without form and without substance, it girdles the Heavens and from it there proceeds a tiny spark which makes the whole fire of the Sun, Moon and Stars. This is what I know of God. Seek not to know more, for this passes thy comprehension howsoever wise thou mayest be. Nevertheless, know that the unjust and wicked man cannot hide himself from God, nor can craft nor excuse disguise aught from His piercing eyes. All is full of God, God is everywhere.”