o lastly overstrong against thy self!

[fuckthisbloganditscurses]

Happiness Will Come To You.

[12goblins]

when tho

[fuckthisbloganditscurses]

When You Least Expect It. Probably Late March

[wizardshark]

reblog for happiness to come for you in late march!

[confessionsofdramagrl]

this is literally how a pisces is born

[dozydawn]

[milksockets]

'flight' by anindita dutta, 2015

[cuties-in-codices]

st. zosimas' encounter with st. mary of egypt

illustration from a manuscript of der heiligen leben ('the lives of saints'), bavaria, late 15th c.

source: Leipzig, UB, Ms 1552, fol. 250r

[weepingwidar]

María Fragoso Jara (Mexican, 1995) - Bodas de Sangre, Ondine (Blood Wedding, Ondine) (2023)

[stlamb]

manual of surgical bandages, devices and dressings, goffres, joseph marie achille, 1808-1867

[theravingcelt]

“It is extraordinary that nobody nowadays under the stress of great troubles is turned into stone or a bird or a tree or some inanimate object; they used to undergo such metamorphoses in ancient times (or so they say), though whether that is myth or a true story I know not. Maybe it would be better to change one’s nature into something that lacks all feeling, rather than be so sensitive to evil. Had that been possible, these calamities would in all probability have turned me to stone.”

— The Alexiad, written by Anna Komnene, the daughter of the Byzantine Emperor Alexios I Komnenos, c. 1148.

[visualtraining-deactivated20240]

from the introductory slideshow of a carmelite monastery’s website

[women-loving-art]

Nancy Fouts Eve and Eve 2014

[precious-silly-thing-deactivate]

Candle clocks

[leoroihie-deactivated20241210]

[derniererondeavantlanuit-blog]

Le Krak des Chevaliers en Syrie

[the1920sinpictures]

1925 c. Blue chiffon evening dress with a skirt layered in bi-colored marabou feathers. Pink roses and green leaf embellishments decorate the sash with more marabou feathers. From Dame Vintage.

[escuerzoresucitado]

Chess Players (c. 1475),

Liberale da Verona.

[devouredsun]

Alchemical Lyon, 2007 Jacquard tapestry 72 x 84 in. edition of 6

[femalethink]

Women do not simply have faces, as men do; they are identified with their faces. Men have a naturalistic relation to their faces. Certainly they care whether they are good-looking or not. They suffer over acne, protruding ears, tiny eyes; they hate getting bald. But there is a much wider latitude in what is aesthetically acceptable in a man's face than what is in a woman's. A man's face is defined as something he basically doesn't need to tamper with; all he has to do is keep it clean. He can avail himself of the options for ornament supplied by nature: a beard, a mustache, longer or shorter hair. But he is not supposed to disguise himself. What he is "really" like is supposed to show. A man lives through his face; it records the progressive stages of his life. And since he doesn't tamper with his face, it is not separate from but is completed by his body—which is judged attractive by the impression it gives of virility and energy. By contrast, a woman's face is potentially separate from her body. She does not treat it naturalistically. A woman's face is the canvas upon which she paints a revised, corrected portrait of herself. One of the rules of this creation is that the face not show what she doesn't want it to show. Her face is an emblem, an icon, a flag. How she arranges her hair, the type of makeup she uses, the quality of her complexion—all these are signs, not of what she is "really" like, but of how she asks to be treated by others, especially men. They establish her status as an "object."

—Susan Sontag, “On Women.”