Misplaced Lens Cap
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gracie abrams
KIROKAZE
ojovivo
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Game of Thrones Daily
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roma★
❣ Chile in a Photography ❣
Xuebing Du
TVSTRANGERTHINGS
Love Begins
todays bird
@theartofmadeline
art blog(derogatory)
The Bowery Presents
hello vonnie
bliss lane
if i look back, i am lost
seen from Australia
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seen from Argentina
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@ebaybumpstock
PREORDER TODAY
CLICK TO BUY CLICK TO LISTEN TO ALL OF IT
OR TYPE IN URL BAR (W/O SPACES) :
https://scriptoriumrecordings.bandcamp.com/ album/ s-t
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Primary colored night
found on pinterest but someone had forgotten me? fixed now
Giant Eucalypts along te Olinda-Sassafras Road, Victoria, Australia
Australian vintage postcard
via
aleksinac 2019
Edmund Dulac (1882-1953) Four Horsemen of the Apocalypse, unpublished Book of Revelation, American Weekly (1930) Source
Edmund Dulac (1882-1953) The Scarlet Woman of Babylon, unpublished Book of Revelation, American Weekly (1930) Source
“Dulac's relationship with American Weekly was halted in 1925, as he was dissatisfied with their reproductions of his illustrations. By 1928, the relationship was renewed, and Dulac produced illustrations for the theme The Book of Revelation, in the hopes they may be acceptable to American Weekly. He visualised the paintings in grisaille, in part as he hoped it would result in a more faithful reproduction, however the magazine would not depart from a coloured cover, and he produced the Famous Vamps of History series for them in it's stead.”
Performing tonight and im nervous but im going to try to give more effort vocally than i did last time because i was tired & shy
You have no ears no eyes
Deicide, Gorguts
Roadrunner Records advert, 1993.
Taken from Black Death Nostalgia
Guild sign of the nail forge
18. /19. Century
Iron, painted; double eagle and attached heart lined with many nails
IM Kinsky
Homage to Atomage.
Scenic design by Giulio Coltellacci for the 1949 Piccolo Teatro di Milano production of Shakespeare's Richard III. The overhanging tasselled canopies give a medieval flavor, but the visual division of the space into galleries, the decorated ceiling, the central entrance, and the side-benches suggest the layout of the Elizabethan stage.
