The stele of Prusias is located to the northeast of the entrance of the temple of Apollo. It has been restored in situ. The monument has been identified through an inscription mentioning that it was dedicated by the Aetolian League to honour king Prusias II of Bithynia, in northwestern Asia Minor: «Βασιλέα Προυσίαν, βασιλέως Προυσία, τò Κοινò τῶν Αἰτωλῶν, ἀρετᾶς ἔνεκεν καὶ εὐεργεσίας τάς ἐς αὑτούς».(To the king Prusias, son of king Prusias, the Aetolian League for his virtue and the benefactions he bestowed upon them).
Τhe monument consists of a tall base made of rows of rectangular blocks, whereas on its upper part it bears a decoration in relief depicting garlands and bucraniums; the decoration included also a low molding with supports (geisipodes). Its total height reached 9.70 meters. At the top stood the statue of king Prusias on horseback. On the upper part of the monument rows of rectangular slits are possibly related to the entire composition, as they might have been used to fasten floral motifs, such as crops, which probably alluded to the benefaction of the king. They could also have contained bronze blades aiming at protecting the monument against the birds.
SU theory: Rose’s Sword and the shattering of Pink Diamond
I’m sure you’re sick of this stuff by now, but something’s been bugging me about Rose Quartz shattering Pink Diamond. I’m going to ramble for a bit about a bunch of things other people have probably pointed out already.
Everything we’ve heard suggests that the death of Pink Diamond is the moment that started the rebellion in earnest, but Eyeball specifically says she remembered Rose Quartz’ huge sword. Rose definitely had a huge sword, but it was made by Bismuth, after the rebellion was well underway. Plus there’s this:
“It can cut through a gem’s physical form in an instant! Destroying the body…but never the gem.”
We have no reason to believe Bismuth was lying about that. In fact, it’s obviously a sore spot with her.
This can’t be the sword that shattered Pink Diamond, but what if it was based on something deadlier? Let’s take a closer look at Rose’s sword.
That is a very distinct design, much more detailed than most of the ones we’ve seen. In fact, it’s got a lot of the hallmarks of a fusion weapon.
Now, what would combine to make a bladed weapon with a hand guard, decorated pommel, and floral spiral motif? Is there a fusion on the show whose weapon we’ve never seen?
Rose Quartz valued all life, including the lives of her enemies, but what if she was fused with somebody who didn’t share those feelings? Somebody who would have had a more personal grudge against Homeworld society and the Diamonds in particular?
But none of this explains why Rose would have asked Bismuth to make a copy of the sword that shattered Pink Diamond.
Fusions between different gems are taboo, much moreso if they’re between different castes. Blue Diamond wanted to shatter Ruby for daring to fuse with Sapphire, what would happen if a respected member of Pink Diamond’s inner circle fused with a Pearl, of all things?
Better for Rose to let Homeworld think she acted alone.
Black voided velvet with
branching floral and foliate motif, applied brilliants; Chantilly lace;
cream tulle; black net with brilliants and jet beads in stylized floral
pattern; jet bead and brilliant tassels
With curved, slightly broadening and channelled blade, the hilt heavily overlaid in gold with floral motifs, Gurmukhi inscription on upper part of blade in the form of a stylised parasol. 81.5 cm long.
The inscription reads Akal Sahai, Maha Singh, Samvat 18... Sardar Mahan Singh (1760-1790), the father of Ranjit Singh, was chieftain of one of the smaller Sikh misls or confederacies, the Sukarchakia. Mahan Singh’s father died when he was a child and the misl was ruled in his stead by regents until he was fourteen. The territory he controlled and his power grew by a series of military successes, in particular his occupation of Rasulnagar (renamed Ramnagar), after which many of the other misls transferred their allegiance to him. In 1787 Colonel James Browne estimated his standing army at fifteen thousand horse and five thousand infantry. Im 1774 he married Raj Kaur, the daughter of Raja Gajpat Singh of Jind, and in 1780 she gave birth to a son who was named Ranjit (‘Victor in War’), later to become Maharaja of the Punjab. Mahan Singh died of dysentery at the siege of Sodra in operations against the Bhangi misl.
Seen in the April issue of Vogue Germany, a belted lurex jacquard coat and wide brim hat with pinecones and floral motifs from Gucci Spring Summer 2017. Photographer: Claudia Knoepfel Stylist: Nicola Knels
So I like this tiara because I’ve never seen turquoise used like this before. This tiara used several small pieces of turquoise to create a floral motif. The turquoise wasn’t just an accent, but the feature. I like it.
“Women think of all colours except the absence of colour. I have said that black has it all. White too. Their beauty is absolute. It is the perfect harmony.” ― Coco Chanel
Phryne’s white textured wool crepe overcoat makes several appearances in Series 1 and 2. The single-breasted coat flares slightly from the waist giving it movement, the oversized fur shawl collar oozing the luxury and style we associate with Phryne Fisher. She wears it both with a white felt cloche and a leopard print with feather detail, and white, pale yellow and/or black accessories.
It first appears in The Green Mill Murder (S1, Ep3) in the ‘who dunnit’ reveal at City South towards the end of the episode. The coat contrasts the night club barely-there evening wear of sleek black fringing and sparkling rhinestones. It is warm and elegant and appropriately formal for an interview:
Phryne reveals the modus operandi first to an impressed Jack:
Phryne: See, he’s made modifications here and here.
Jack: I don’t know who has the more fanciful imagination… Rogers for coming up with it, or you for working it out.
Phryne: Jack! Me, obviously.
then nails the perpetrator, Rogers:
In the next episode, Death at Victoria Dock, the coat reappears with black and white accessories, mirroring the surrounds not only of the convent hallways and tiled floors, but the inhabitants themselves:
In Raisins and Almonds S1 Ep5, Phryne wears the coat and hat as she tracks down the relationship between a cottage garden and a deadly poison. The coat with its soft trim and felt cloche blend with the pastel flowers and the painted backdrop of the terrace house.
The outfit is part of the reveal of this episode too:
- as Phryne reveals a little more of herself to Jack:
- and Jack reveals a little of himself to Phryne:
Jack: I went to war a newlywed.
Phryne: But you came home.
Jack: Not the man my wife married… 16 years ago.
Phryne: War will do that to you.
Jack: My wife’s been living with her sister for some time now. But a marriage is still a marriage, Miss Fisher.
Phryne: Especially to a man of honour.
In S1 Ep7, Murder in Montparnasse, the personal intrudes but this time it is Phryne who must divulge something of her life. She wearsthe white hat and coat as she insinuates her way into an investigation of a motor vehicle accident that ultimately leads to memories of a very painful episode in her past.
Her light-hearted response to Hugh’s recreation of the scene of the crime has Jack too letting down his usual reserved guard.
The following scene shows the pair maintaining comfortable rapport.
As in Green Mill, the white coat provides a stark contrast to the later scene in the restaurant where Phryne wears all black, perhaps a symbol of the darkness of the abusive past relationship - and Jack and Phryne’s rapprochement continues…
Flowers and revelations recur when Phryne wears the outfit in Queen of the Flowers, S1 Ep9.
Jane’s mother reveals her presence, with devastating impact on both the surrogate mother and Jane:
The image above shows the detail on the cloche, bronze floral motifs with hand-painted beading, so appropriate for episodes with flowers as thematic trope.
Phryne wears the outfit to her appointment in the hall where the flower maidens are preparing for their festival performance, and we see the line and fall of the coat. But not for long.
Phryne removes hat, coat and gloves to ensure the girls in her care are better prepared to face an, at times, hostile world than finishing lessons can provide:
Phryne: And I wish I could have taught Kitty something more useful than dancing or deportment or etiquette. …Take your coats off, ladies, and I’ll show you.
Jack too appreciates what she shows them:
Then on to Season 2, Episode 8, The Blood of Juana the Mad.
Phryne wears the coat with the leopard print cloche and feather corded detail, and black accessories - gloves, bag and shoes. Her outfit here appears too, to pay homage to the surrounds and the dress regulations of those within the medical faculty.
Her estrangement from Jack is most marked at the beginning of the episode with some settings foreshadowing a later resumption of more harmonious relations.
Their exchange highlights the tension between the two - Jack determined to separate himself both personally and professionally from Phryne as he realises he can no longer isolate each of the two facets of their relationship; Phryne on the other hand believes they can and should.
Jack: I know Dr MacMillan is an old friend, but it would be easier if you left me to investigate.
Phryne: Without me? What about the safe? You couldn’t have opened that without me.
Jack: Not as easily.
Phryne: Or the blood trail.
Jack: Not as quickly.
Phryne: What about Hugh? I helped him to…
Jack: Helped what?
Phryne: Do you really want me to go?
Jack: I don’t want you to go. I need you to go. Please go home.
Phryne: Very well. Sayonara.
Phryne, in profile and framed by pillars, provides the third figure in the stained glass panelling after Jack’s exit.
Fortunately the episode ends with them in tandem - so to speak - on a motorbike, and there’s more talk of what the future might hold:
Jack: I think we’re more of a waltz, Miss Fisher.
Phryne: Not a tango? A good waltz is slow, and close.
Jack: I’ll try to stay in step, all the same.
And that’s the last of the beautiful white coat although the colour, style and trim may well be a presage of another scene or two with another white coat… but that would be another post!
Since we’ve just had New York Bridal Fashion week, let’s talk about fictional wedding dresses. Now Belle’s new dress has been defined by Disney as a ‘celebration’ dress but, you know, a wedding is a celebration and it’s white, sooo it counts here. I love it! Costume designer Jacqueline Durran did a wonderful job on Beauty and the Beast and this dress was a stunning addition to Belle’s iconic wardrobe. This will go down as a favourite of mine.
Jacqueline Durran talking about the Celebration Dress: “My concept was around a french garden….We took the floral motif and made a very modern dress.”
What’s your favourite fictional wedding dress?Is it from these live-action re-tellings, like Cinderella and her beautiful splash of colourful embroidery. Is it from an animation, like The Little Mermaid, do you just love those puffy sleeves? Is it from an old classic like ‘High Society’? If you haven’t watched it you should!
Also did you know Jacqueline designed for Keira Knightley in Atonement, Pride & Prejudice AND Anna Karenina!!
A superb example of the art of book binding - Cosway Style Binding.- Burns (Robert) Poems, Chiefly in the Scottish Dialect, Second (first Edinburgh) edition, first issue , engraved portrait frontispiece after J. Beugo by A. Nasmyth, green and purple morocco doublures, Cosway-style sunken panel miniature of Robert Burns within a bejewelled gilt frame on upper doublure, purple morocco for C. J. Sawyer by Sangorski & Sutcliffe, t.e.g., g.e., gilt floral motifs to spine with red morocco inlays, covers elaborately gilt with small floral tools and a central panel of the authors initials to upper cover and thistle motif to the lower cover, 8vo, Edinburgh, printed for the author and sold by William Creech, 1787