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PUT YOUR BEARD IN MY MOUTH
Mike Driver
Lint Roller? I Barely Know Her

@theartofmadeline
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@rhea137
Bust of Julius Caesar
Marble sculpture of Julius Caesar (100-44 BC).
Museo di Capodimonte, Naples, Campania, Italy
Incantation bowl with Aramaic inscription, Metropolitan Museum of Art: Ancient Near Eastern Art
Rogers Fund, 1932 Metropolitan Museum of Art, New York, NY Medium: Ceramic
http://www.metmuseum.org/art/collection/search/322405
Then, suddenly, my anxiety subsided, a feeling of intense happiness coursed through me, as when a strong medicine begins to take effect and one’s pain vanishes: I had formed a resolution to abandon all attempts to go to sleep without seeing Mamma, had made up my mind to kiss her at all costs, even though this meant the certainty of being in disgrace with her for long afterwards—when she herself came up to bed. The calm which succeeded my anguish filled me with extraordinary exhilaration, no less than my sense of expectation, my thirst for and my fear of danger. Noiselessly I opened the window and sat down on the foot of my bed. I hardly dared to move in case they should hear me from below. Outside, things too seemed frozen, rapt in a mute intentness not to disturb the moonlight which, duplicating each of them and throwing it back by the extension in front of it of a shadow denser and more concrete than its substance, had made the whole landscape at once thinner and larger, like a map which, after being folded up, is spread out upon the ground. What had to move—a leaf of the chestnut-tree, for instance—moved. But its minute quivering, total, self-contained, finished down to its minutest gradation and its last delicate tremor, did not impinge upon the rest of the scene, did not merge with it, remained circumscribed. Exposed upon this surface of silence which absorbed nothing of them, the most distant sounds, those which must have come from gardens at the far end of the town, could be distinguished with such exact “finish” that the impression they gave of coming from a distance seemed due only to their “pianissimo” execution, like those movements on muted strings so well performed by the orchestra of the Conservatoire that, even though one does not miss a single note, one thinks none the less that they are being played somewhere outside, a long way from the concert hall, so that all the old subscribers—my grandmother’s sisters too, when Swann had given them his seats—used to strain their ears as if they had caught the distant approach of an army on the march, which had not yet rounded the corner of the Rue de Trévise.
I was well aware that I had placed myself in a position than which none could be counted upon to involve me in graver consequences at my parents’ hands; consequences far graver, indeed, than a stranger would have imagined, and such as (he would have thought) could follow only some really shameful misdemeanour. But in the upbringing which they had given me faults were not classified in the same order as in that of other children, and I had been taught to place at the head of the list (doubtless because there was no other class of faults from which I needed to be more carefully protected) those in which I can now distinguish the common feature that one succumbs to them by yielding to a nervous impulse. But such a phrase had never been uttered in my hearing; no one had yet accounted for my temptations in a way which might have led me to believe that there was some excuse for my giving in to them, or that I was actually incapable of holding out against them. Yet I could easily recognise this class of transgressions by the anguish of mind which preceded as well as by the rigour of the punishment which followed them; and I knew that what I had just done was in the same category as certain other sins for which I had been severely punished, though infinitely more serious than they. When I went out to meet my mother on her way up to bed, and when she saw that I had stayed up in order to say good night to her again in the passage, I should not be allowed to stay in the house a day longer, I should be packed off to school next morning; so much was certain. Very well: had I been obliged, the next moment, to hurl myself out of the window, I should still have preferred such a fate. For what I wanted now was Mamma, to say good night to her. I had gone too far along the road which led to the fulfilment of this desire to be able to retrace my steps.
I could hear my parents’ footsteps as they accompanied Swann to the gate, and when the clanging of the bell assured me that he had really gone, I crept to the window. Mamma was asking my father if he had thought the lobster good, and whether M. Swann had had a second helping of the coffee-and-pistachio ice. “I thought it rather so-so,” she was saying. “Next time we shall have to try another flavour.”
Temple of Luxor, Egypt, 1570-1200 B.C.
Francesco Venezia, Gardens and plazas in Salaparuta, 1986.
> thanks to Angelo Del Vecchio
Le Corbusier, Chandigar, The High Court, 1956
Antonio Muñoz, restoration of the Torre dei Conti, Roma, 1937
Arco di Costantino, Roma,1940
Aldo Rossi, project for a church, Cascina Bianca, Milano, 1990
‘Cross mound’ at Casas Grandes
Vavin | Casa del Arquitecto en la rue Notre Dame des Champs | París, Francia | 1790
Floor plan of the Hotel de Soissons, Paris
Peter Doig (British, b. 1959), Orange Forest, 1999. Oil on canvas, 92 x 77 cm.
Cy Twombly
Wehrmacht horse carriage sunk in deep mud in Kursk Oblast, March–April 1942
A Beggar Warming his Hands over a Chafing Dish, 1630, Rembrandt Van Rijn
https://www.wikiart.org/en/rembrandt/a-beggar-warming-his-hands-over-a-chafing-dish-1630
Relief panel, Ancient Near Eastern Art
Gift of John D. Rockefeller Jr., 1932 Metropolitan Museum of Art, New York, NY Medium: Gypsum alabaster
http://www.metmuseum.org/art/collection/search/322621
The Sphere, London, January 7, 1939
Joost Schmidt, Relief, Man On The Run, 1932. Typographer and teacher of the Bauhaus.