A Fretful Porpentine

@bagdemagus

DNI: (1) Shepherds of wool-bearing sheep who pay taxes in silver rather than supplying a white sheep, as is the proper custom; (2) temple administrators who take, in lieu of corvée duty, garments of the type known as "Ear of the Mongoose," outer woolen garments, naked flax, flax tied in bundles, bronze helmets, arrows, burnished leather, wing-feathers of a yellow raven, or goats with full fleece; (3) undertakers who take seven jugs of beer, four hundred and twenty loaves of bread, seventy-two liters of barley, one woolen garment, one bed, and one chair when they bring corpses to the grave; (4) governors who use the oxen of the gods to plow their own garlic and cucumber plots; (5) livestock officials who appropriate asses; (6) livestock managers who appropriate sheep; and (7) fisheries inspectors who appropriate taxes.

9,455 posts

The Teniersplaats in Antwerp

Artist: Henri De Braekeleer (Belgian, 1840-1888)

Date: 1876

Medium: Oil on canvas

Collection: Royal Museum of Fine Arts, Antwerp, Belgium

Adam and Eve Expelled from the Garden

Folio from a Falnama (Book of omens), Safavid period, mid 1550s

Detached folio from a dispersed copy of Falnama (Book of omens); text: Persian in black nasta’liq script; recto: text, one column, eleven li

Somewhere, Pitt County, NC, 2006. Don Hazelwood.

nobody else doing it like me. particularly because the way i’m doing it is needlessly difficult

lonelysummerbreeze

2009

absolutely in love with this pic from the Wikipedia page for Pikas

memories-of-ancients

Silver nose ornament, Chimu culture, Peru, circa 1300-1532

from The Museo Larco, Lima, Peru

From our vertical files: Cover detail from "Why Soap Sculpture, Anyway? How, in 25 Years, an Everyday Material Grew to be a Unique Medium of Education in Art Expression. A Talk by William G. Werner of the Procter & Gamble Company to the National Soap Sculpture Committee on its 25th Anniversary New York, June 4, 1952"

botanyshitposts

this morning my coworker and I were evaluating some beans and I said ‘man these beans look pretty good’ and he was like ‘meh I’ve seen better’. top ten exchanges that have happened for thousands of years in every language ever spoken

discardingimages

lion musician

Summer volume of the Breviary of Renaud/Marguerite de Bar, Metz ca. 1302-1305.

Verdun, BM, ms. 107, fol. 26r

Today's Seal Is: Fifteen Cents

#stamp seal #(glyptic pun)

George S. Zimbel Fiction Department, Public Library, Philadelphia 1965

Mug. ca. 1750. Credit line: Gift of Mrs. Russell S. Carter, 1944 https://www.metmuseum.org/art/collection/search/199416

Jacquard-woven silk ribbon (aka 'Coventry Town Ribbon'), from the V&A Museum (not currently on display) - silk, 1850-1851. Length: 30.5cm / Width: 17.5cm.

From the Victoria & Albert Museum:

These ribbons were shown at the Great Exhibition of 1851 to demonstrate the complexity of design that could be woven by the jacquard process. The Exhibition catalogue boasted that 10,000 jacquard cards had to be cut and 24,000 cords lifted during weaving. Here, the threads on the reverse of one ribbon can be compared with the surface pattern on another. The ribbons were judged so successful that the type became known as the Coventry 'Town Ribbon'. [2003 gallery label]

Although in the style of a traditional dress or bonnet ribbon, this silk ribbon was woven to demonstrate the technical skills of the manufacturer rather than for actual use. The minute detail and realism of the floral design made this a veritable tour de force of jacquard weaving, fully exploiting the potential of the process.

The Coventry manufacturer of the ribbon is not known, but it is said to have been designed by M. Clack, a pupil of Coventry School of Art, and the pattern drafted (transferred on to a working technical graph, or point paper) by R. Barton. Its successful appearance at the Great Exhibition of 1851 was a great honour for Coventry, which had a large and successful local industry famous for woven silk ribbons, trimmings, small pictures, bookmarks and other keepsakes.

This ribbon was selected for illustration in the Art Journal Illustrated Catalogue of the Great Exhibition (page 13). [V&A archive summary]

Bead. ca. 2112–2004 BCE. Credit line: Bequest of W. Gedney Beatty, 1941 https://www.metmuseum.org/art/collection/search/323922

The inscription reads:

{d}nin-hursag nin-a-ni {d}šul-gi nita kal-ga lugal uri5{ki}-ma lugal ki-en-gi ki-uri-ke4 a mu-na-[ru]

“To the goddess Ninhursag, his lady, Shulgi, the mighty man, king of Ur, king of Sumer and Akkad, dedicated [this bead].”

(transliteration from CDLI—https://cdli.earth/P226911)

Official or display bead excavated in Uncertain (mod. uncertain), dated to the Ur III (ca. 2100-2000 BC) period and now kept in Metropolitan

k-simplex-deactivated20241001

Happy Pride

I hope I die in my favorite museum so I can haunt it

My unfinished business is ‘not done looking at stuff in museum’

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