#1483

[dyktvideogamesfx]

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Do you know this SFX? #1483

I know where it's from

It sounds familiar

I've never heard this

Voting ended onMay 26

[historical-fashion-polls]

which helmet would you rather wear? (ca. 1483)

1 ❤️🦁

2 💛💍

3 🤍🐗

4 ❤️

5 💛🦌

6 🦚

Voting ended onMar 4, 2025

discovered via @cuties-in-codices 🤍❤️💛

[steddieficfind]

hey! I'm looking for a fic on Ao3 where Steve accidentally finds out Eddie is in love with him and Eddie decides that since Steve already knows, there's no need to hide or tone down his behavior.

Request 1483! Send us an ask if you recognize this fic!

[doyoulikethischaracterdesign]

Bouftou Royal from Dofus

"I think I never won over that boss"

Do you like this character design?

Yes

No

It's Complicated

Voting ended onMar 15

[akutagawa-daily]

Akutagawa daily 1483/★

[foreverinthepagesofhistoryy]

Royal Autumn 2024 Photo Challenge

Day 13: Favorite Photos of Royals with Ancestors

Photos 1 and 2; Princess Margaret and Prince Arthur of Connaught, children of Prince Arthur Duke or Connaught and Grandchildren of Queen Victoria, dressing up as distant ancestors King Edward V of England and Prince Richard Duke of York for a Tableaux

Photo 3: Drawing of King Edward V and Prince Richard done by descendant Princess Alice Grand Duchess of Hesse and By Rhine, third child of Queen Victoria

A brief history of these two brothers, most commonly known as “The Princes In The Tower” is as followed: When King Edward IV died, his eldest son Edward automatically became king but as he was only 12 years old, a regent monarch would need to rule until he became an adult. Edward and his party started to make the journey from Wales (where he was being educated to be the future king) to London but were intercepted by Richard Duke of Gloucester’s party who took custody and control of him and his party. Richard, who was King Edward IV’s brother and Edward V’s paternal uncle, was declared regent after the dying Edward IV wished it to be so and eventually had three members of Edward V’s party executed and placed Edward V in the Tower of London to have complete control over the young king. Despite pleas from mother Elizabeth Woodville, who took her remaining children into sanctuary at Westminster Abbey, her younger son Richard was eventually taken away from her and was placed in the tower with his brother. This was in May of 1483. A coronation for Edward was to be immediately planned as this is what would allow Richard to be a legal protectorate but it was repeatedly postponed by Richard himself.

In June of 1483, it was declared from parliament that all children of Edward IV and Elizabeth Woodville were illegitimate and the same with the children of brother of the former king George Duke Of Clarence (who was already dead at this time) so Richard was seen as the legitimate king and a day later acceded to the throne as Richard III. After Richard became king, the princes were taken into the inner apartments of the Tower and were seen less and less until the Autumn of 1843 when they disappeared from public view entirely. After the young princes disappearance, it was widely accepted that they were killed on the orders of their Uncle Richard and were smothered to death in their sleep, this theory is most accurate because Richard had complete access to them and men so loyal that they would do anything for their king.

In 1674, close to two hundred years later, two sets of skeletons resembling two children were found by workers who were rebuilding a staircase in the Tower. King Charles II ordered that the bones be placed in an urn marked with the children’s names on it which was located in Westminster Abbey until 1933 when it was reopened to be examined under the orders of King George V. Some animal bones were found within these two sets of children’s skeletons and since in 1933 modern DNA testing wasn’t invented yet, the tomb was closed. Further reopening the tomb and testing has been denied, so ultimately we still do not factually know if these are the true Princes in the Tower

~

[artsandculture]

The Birth of Venus (1483-1485) 🎨 Sandro Botticelli 🏛️ Uffizi Gallery 📍 Florence, Italy

The painting was commissioned by Lorenzo di Pierfrancesco de’Medici, a cousin of Lorenzo the Magnificent. The theme was probably suggested by the humanist Poliziano. It depicts Venus born from the sea foam, blown by the west wind, Zephyr, and the nymph, Chloris, towards one of the Horai, who prepares to dress her with a flowered mantle.

This universal icon of Western painting was probably painted around 1484 for the villa of Castello owned by Lorenzo di Pierfrancesco de 'Medici. Giorgio Vasari saw the work there in the mid-sixteenth century – along with Botticelli’s other well-known Primavera – and described it precisely as "showing the Birth of Venus." The old idea that the two Botticelli masterpieces were created for the same occasion, in spite of their substantial technical and stylistic diversity, is no longer accepted. However, rather than a birth, what we see is the goddess landing on the shore of her homeland, the island of Cyprus, or on Kithera. The theme, which can be traced back to Homer and to Ovid’s Metamophoses, was also celebrated by the great humanist Agnolo Poliziano in the poetic verses of his Stanze. The Venus of the Uffizi is of the “Venus pudica” type, whose right breast is covered by her right hand and billowing long blond hair partially shrouds her body. The goddess stands upright on a shell as she is driven towards the shore by the breeze of Zephyrus, a wind god, who is holding the nymph, Chloris. On the right is the Hora of springtime, who waits to greet Venus ashore with a cloak covered in pink flowers.

The seascape, stunning for its metaphysical tone and almost unreal quality, is illuminated by a very soft, delicate light. Like Botticelli’s other masterpiece, Pallas and the Centaur, the Birth of Venus is painted on canvas - fairly unusual for its time - using a technique of thin tempera, based on the use of diluted egg yolk, which lends itself particularly well to give the painting that aspect of extraordinary transparency, which brings to mind the pictorial quality of a fresco. The figure recalls classical sculpture and is very similar to the famous Medici Venus found in the Uffizi, which the artist certainly knew. The real meaning of this dreamlike vision is still under scholarly debate and investigation but is undoubtedly linked with the Neo-Platonic philosophy, widely cultivated in the Medici court.

Like the Primavera, the Birth of Venus is also associated with the concept of Humanitas,or virtuous Humanity, a theory developed by Marsilio Ficino in a letter to the young Lorenzo. According to the interpretation by Ernst Gombrich, the work depicts the symbolic fusion of Spirit and Matter, the harmonious interaction of Idea and Nature. Nevertheless, the interpretations of this painting of extraordinary visual impact are numerous and diverse. The divine ethereal figure has been viewed as an allegorical representation of Humanitas upon her arrival to Florence, while the nymph holding out the cloak of flowers for the goddess may perhaps be identified as Flora, the same depicted in this masterpiece’s “twin”, the Primavera, where she may be seen instead as the personification of the city of Florence. From this work emerges clear evidence of Botticell’s strive to reach perfection of form that could rival with classical antiquity. It is for this reason that the humanist Ugolino Verino in his work Epigrammata, presented in 1485 to the King of Hungary, Matthias Corvinus, likened the Florentine painter to the legendary Apelles of Ancient Greece.

[nikolamga]