lumiere-paris

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waitingforbeautyandthebeast: 🌹🌹🌹
Disney Illuminations - Disneyland Paris for 25th Anniversary (part ½)
Via: DLP Guide - Disneyland Paris Guide (Youtube)

anonymous asked:

after the curse is broken, another curse is set in place. as punishment for the villagers being so cruel to belle, they are all turned into inanimate objects, and the castle forgets about them and continues on with their lives. in order for the spell to be broken, someone from the castle must wander into the village, stay, and truly forgive them all for whatever secret and dark past they may have. -☁️

oh wow that’s fucking weird. also the Perfect excuse to write the Fucking Trash Fic starring the V I L L A G E R S  i’ve been wanting to do


“Did I have a papa, once?” Chip asks his mum. He’s not sure why, but playing with his little toy donkey—carved from wood, with little wheels for legs—has stirred something in him.

“All little boys have papas,” says Mrs. Potts absently. She is busy drying the dishes, and doesn’t look up from her saucers and plates. “Why would you think of that now?”

Chip tries to string the words together. Something like where is he now, then? Or who is he? Or why don’t we talk about him? Is he dead?

He can’t think of any of the words. His eyes go back to the donkey, and he forgets what he was asking.


Jean Potts is not dead. But sometimes, he feels he might as well be.

There is something about being a plate that feels particularly humiliating. The fact that his lovely porcelain border is striped in the same way his old hat was does nothing to diminish the embarrassment.

He didn’t even like that hat, that much. But now it’s all he is: a white plate with a striped border, and painted eyes and mouth, and nothing else besides. He wish he had thought to bring a change of clothes before encountering the old hag from the mountains.

Agathe hadn’t turned him into a plate. This curse was done by someone else entirely: a hag with corkscrew, blue-streaked hair, and a cranky nose, and a spitfire temper that doomed them all. They didn’t know her name. Just that she was malicious, and had curses to burn.

“If I had known she was like this,” argued Clothilde, newly a fishhook, “we could have bought her jam, or sommat.”

“I don’t think jam was what she wanted,” said Jean. 

The curse had been swift and brutal and ironic in its care to detail. Everyone knew what it was for: to tell them, in no uncertain terms, that Mobs Are Bad, and Hating People You Barely Know Is Bad, and Falling In Line With Tyrants Is Bad, and Being Stupid Is Bad. (the hag had really gone on quite a while before she actually cast the curse.) It was a taste of their own medicine, for acting like tools in the hands of a crazed, angry man.

That didn’t help assuage the feelings of plate, though.

Some had it worse. Alléchant Agriculteur, the local supplier of eggs, couldn’t complain at all; nobody had ever seen such an unbelievably attractive hen coop in their lives. But Forgeron Rouge, the blacksmith so beloved for his bright red cap and helpful manner, had turned into an anvil. He couldn’t move. The horses—now all just horseshoes, poor creatures—whinnied around him pitifully, and all he could do was clang in response.

The hatstands in the window tittered and sighed. They still wanted to be pretty, and here they were, with big bonnets as always, but no pretty black hair to make it worth while. They wondered if Chapeau, their brother, might find them. They wondered if Chapeau still remembered them.


He didn’t.

Sometimes—given to subtle turns of thought, as he was—Chapeau wondered how the castle was meant to survive, in a forest with no villages around. Surely that affected the local economy? Where was Cuisinier meant to buy his eggs and bread, with no farms around to supply it? Given that, where did the servants come from? They couldn’t all come straight from Paris, like Lumiere and Plumette. There had to be some village boys, with pretty mothers—milliners maybe—who could come up to the palace to find work. He had to give it some thought. There was a riddle here he needed to remember.

He didn’t. He forgot.

It was odd, at nights, when some told stories of their families. Mrs. Potts talked about her mother at length—the weaver-woman from Yorkshire, who she hadn’t seen for so long, ever since she left the country and came here. Lumiere, if pressed, will laugh and mock his father, the old man in Paris who wears spectacles and worn brown vests and who he loves so much, so complicatedly, so completely. Even Belle remembers a little of her mother, even though she died so far away.

But nobody seems to come from around the palace. There are no village boys.

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sombre por Leo Marybrasse

4

“These beautiful and fascinating color photographs of Paris were taken between 1907 and 1930, using the Autochrome process devised by the Lumière brothers.

The richly colored images are like a mini-time machine taking us back to a world long gone, though the landmarks and streets are still instantly recognizable.”

(dangerousminds.net)

2

Leonardo Da Vinci ‘painted three Ermine portraits’

A French scientist has revealed a major new discovery about one of Leonardo da Vinci’s most famous paintings, shedding new light on his techniques.

The secrets of one of Leonardo da Vinci’s most famous paintings have been revealed by a French scientist using a new technique.

Pascal Cotte has spent three years using reflective light technology to examine Lady with an Ermine, which was believed to have been painted between 1489 and 1490.

It had been thought that the work had always included the ceremonial animal, but Cotte’s efforts have shown that Leonardo painted one portrait without the ermine and two with alternative versions of the fur.

The painting depicts Cecilia Gallerani, a young woman in the Milanese court who was mistress to Ludovico Sforza, the duke of Milan. The duke was Leonardo’s principal patron in the 18 years he spent in the Italian city and was known as “the white ermine”.

 

Cotte, a co-founder of Lumiere Technology in Paris, has developed a technique called the layer amplification method (LAM). It works by projecting a series of intense lights on to a work while a camera measures the reflections. The resulting information allows Cotte to analyse and reconstruct what has happened between the layers of paint used on the canvas.

“The LAM technique gives us the capability to peel the painting like an onion, removing the surface to see what’s happening inside and behind the different layers of paint,” he told BBC News. “We’ve discovered that Leonardo is always changing his mind. This is someone who hesitates – he erases things, he adds things, he changes his mind again and again.”

Martin Kemp, an emeritus professor of the history of art at Oxford University, described the revelations as “remarkable”, adding: “It tells us a lot more about the way Leonardo’s mind worked when he was doing a painting.

“We know that he fiddled around a good deal at the beginning, but now we know that he kept fiddling around all the time and it helps explain why he had so much difficulty finishing paintings. Leonardo is endlessly fascinating, so getting this intimate insight into his mind is thrilling.”

The painting is owned by the Czartoryski Foundation. It is usually displayed at the National Museum in Kraków, but is hanging in nearby Wawel castle while the museum is being renovated.

source     The BBC.