—everything's lovely—
This is my inspiration blog! My name is Bond and I am 19 years old!
5 days ago - (385)


Taurus have a strange psychic reception in the location of their belongings. You can ask them where a book is & they will tell you ‘on my desk’, the desk with a mountain of paperwork, files & disorder. ‘…where on the desk!’ ’….on the desk under the 3 folders on top the envelope on in the middle of the notes’ . They rarely seem to lose track of their belongings and remain terminally ritualistic

1 week ago - (387)

Gibson Girl Gabrielle Ray with Bullwhip, c.1910.


Gibson Girl Gabrielle Ray with Bullwhip, c.1910.

Sending out zine orders today, thanks for your patience everyone :’>

Sending out zine orders today, thanks for your patience everyone :’>

2 weeks ago - (2603)


Engraved and Gilt Partisan

  • Dating: late 17th century
  • Culture: European
  • Measurements: height 190.5 cm

The weapon has an iron head with a large, straight-edged cusp-blade, ribbed at the centre, with wings, tapering socket provided with rings at both edges, while the upper one is smooth with three rings.

The surface of the lower half of the blade blade, from its half to the socket, is decorated with engravings and remains of gilding; featuring symmetric effigies of flowers, grotesque masks and spirals, on dotted ground.

The wings are shaped and engraved as exotic birds and snakes, the socket decorated with floral bands. Antique, wooden haft of circular section, comes with longitudinal, fluted decorations alternated to rows of brass studs.

Source: Copyright © 2014 Czerny’s International Auction House S.R.L.

2 weeks ago - (1861)


Watered Silk Evening Gown, 1865

W W. Ullberg & Comp.

via Royal Hallwyl Museum

2 weeks ago - (2400)
2 weeks ago - (6926)

tobio kageyama

(Source: alexbenedetto)

1 month ago - (82136)

(Source: pinterest.com)

1 month ago - (1968)

(Source: previouslyonavatar)

1 month ago - (1471)


Bronze statuette of a veiled and masked dancer. Greek, 3rd–2nd century B.C.

The complex motion of this dancer is conveyed exclusively through the interaction of the body with several layers of dress.

Over an undergarment that falls in deep folds and trails heavily, the figure wears a lightweight mantle, drawn tautly over her head and body by the pressure applied to it by her right arm, left hand, and right leg. Its substance is conveyed by the alternation of the tubular folds pushing through from below and the freely curling softness of the fringe.The woman’s face is covered by the sheerest of veils, discernible at its edge below her hairline and at the cutouts for the eyes. Her extended right foot shows a laced slipper. This dancer has been convincingly identified as one of the professional entertainers, a combination of mime and dancer, for which the cosmopolitan city of Alexandria was famous in antiquity. (MET)

Courtesy of & currently located at the Metropolitan Museum of Art, New York, via their online collections1972.118.95.

1 month ago - (2030)
1 month ago - (8023)
via phobs-heh ,org. azertip




my forever favorite

1 month ago - (3924)

Ph. Mariell Amélie

Ph. Mariell Amélie

(Source: bienenkiste)

1 month ago - (3823)
via mori-girl ,org. broux

(Source: broux)

1 month ago - (762)


A quick look at: the genius. What was the genius, and how can we view this aspect of Roman domestic religion in ancient art?

genius (pl. genii) was the divine spirit which the Romans believed every human male was born with; the corresponding guardian spirit in women was called Juno. The genius of the male watched over him throughout his life, and enabled him to beget children. The significance of the genius took on particular importance due to the structure of Roman families.

The Roman family was centered around the paterfamilias, whom was the oldest male member of the family. Everyone within this family was under his control. No major decisions of the family were made without the consent of the paterfamilias, he had control over the property of the family, and for much of Roman history, he had the power of life and death over members of his household. Thus, understandably, the wellbeing of the genius of the paterfamilias was crucial for his entire family, particularly as it was thought to guide the decisions he made. Members of the family would give offerings, and make appeals to the genius of the paterfamilias. Offerings were made on domestic altars (larariums), which nearly every Roman household possessed.

These larariums were usually built in the atrium or kitchen of the home (for an example of a lararium, see this photo from the House of Golden Cupids), and would contain a statuette of the genius (photos 2 & 3). Larariums could also be painted, such as shown in the House of the Vettii at Pompeii (photo 1). Here, we can see the genius figure in the middle, with two lares (household guardian spirits) on either side, to whom offerings were also made. The house snake was also a symbol of the genius, and is often present iconographically in Roman domestic art. These genius figures, be it statuette or painting, are typically depicted as a young, veiled man wearing a toga, whom usually holds a patera and/ or a cornucopia.

The first image is taken by Patricio Lorente via the Wiki Commons, and the shown statuette is courtesy of the Walters Art Museum, Baltimore, USA (54.2329). This figure is made of bronze with silver inlay, and dates to the 1st century.