#ART: Work of the Nomes

[end-the-transmission]

-"I think you're wonderful"-

[ohholydyke]

When the prophet Elijah faced a government that wanted him dead, he wanted to die, so God sent an angel—a messenger of the Lord—who put their hands on him, brought him food and said “Arise, eat.”

And when Elijah laid back down because he lacked the strength to continue, the angel came again. They put their hands on him, brought him food and said “Arise, eat, because the journey is too great for you.”

And Elijah got up and ate. Until he was ready to engage in his long journey to the mountain of God.

When he got there, the government still wanted the prophet dead, so Elijah still wanted to die. So God told him to stand on the mountain while He came by, so that Elijah could be near God and see Him.

Elijah looked for God in the roaring wind, but God was not there. He looked for God in the earthquake, but God was not there. He looked for God in fire, but God was not there.

And then Elijah heard a gentle breeze, and God was there. In comfort. In stillness. In gentleness.

And when Elijah left, still despairing over facing a government that wanted him dead, God sent him to Damascus with the promise that Elijah would anoint new kings and a new prophet. He found Elisha, his companion and fellow prophet, who stood with Elijah as they weathered the storm of government, grief and fear together. And then they built a new world.

Elijah outlived those who wanted him dead. But he did not do it alone. Comfort, touch, food—these are the essentials. These get us out of bed. These keep us alive. The message from God when Elijah is lying down in despair isn’t “get to work,” it isn’t “focus on resisting,” it isn’t “mourn,” it isn’t chastisement. It’s “arise, eat.”

Communion, gentleness, stillness, focus—these are what motivate us to do the work. Elijah was driven by despair into God’s arms. Maybe that works for you—I will be spending my day in prayer alongside my local parish and participating in a communal Mincha service. Maybe the communion and gentleness for you is other people. Your friends, family, loved ones. Maybe it’s yourself—sitting in meditation, art, music, screaming, cooking, sobbing, stretching, gardening. Do something to be in communion with someone or something today. If you have no one, commune with yourself. Commune with plants and your pets and the wind and the water and the candlelight and anywhere you feel that gentle breeze. Stillness, focus, connection.

Finally, companionship, organizing, community, action, solidarity—these are what allow us to do the work. The journey is too great for us alone. We need each other. We will weather this storm together. We will weather the grief and mourning and despair and anger and outrage and whatever the next few years have in store for us, and we will do it standing alongside each other.

Remember—if things get overwhelming, return to the basics. Lay down. Eat. Rest. Repeat until you can find communion and stillness. And repeat both until you can find the strength to journey on and create meaningful relationships and resistance with others.

As final thoughts, I will share the prayer I have prayed regularly since I began my own journey alongside God as a blessing to anyone who may benefit from hearing it:

May God give you eyes that you may see, ears that you may hear, and lips that speak the truth in righteousness. May you receive a caring heart and open mind. May the Lord bless the work of your hands and that which you give others.

And, to those for whom Christ may be a comfort:

May the Risen Savior grant you peace. May He help you to become more like Him and find solace in Him and His Passion. May the five wounds of Christ serve as a map guiding you to His gentle breeze.

May the Holy Virgin light your way and intercede for us all, comfort the afflicted, hear our sorrows, and show us the Blessed Fruit of her womb Jesus.

Em nome do Pai, do Filho, e do Espírito Santo,

Amém.

EDIT: This post is blowing up a bit so I feel the need to expressly state (as if my blog isn’t statement enough) that this is a queer leftist message. I stand with Palestine, Sudan, the Congo and all peoples struggling to be free. I stand with Black, Brown and Indigenous peoples suffering under colonialism, racism and imperialism, I stand with queer people, I stand with the houseless, I stand with anarchists and witches and freedom fighters. The idea of self care expressed here is explicitly indebted to Audre Lorde—the act of placing boundaries with yourself in order to have the energy to do the work of fighting for liberation, freedom and equality. Her concept applied to the labor regularly performed by Black women in being forced to advocate for their own humanity, which ought to be acknowledged, but in its principles we may also find a path to guide the rest of us towards a foundation of sustainable movement. My faith is based around the acknowledgment that Jesus Christ did not come to establish a kingdom of man, or a hierarchy of oppression, but a kingdom of God built for the oppressed.

[randybutternubber]

I’ve noticed a distinct lack of love for the kid from the first ep of TSON who helped noone and the workers, so here’s some art with some HCS (Kid on the left, I’ll just call them goo kid, worker on the right)

Random goo kid HCS

Goo kid fell into a vat of some weird ass shit shadow goop in the factory

They use this to their advantage to basically blend in with the workers

Goo kid is around 6 to 7 years old and was relatively young when they were taken to the nowhere

Because of the factory having a lot of darker areas and the goop messsing with their eyes, they don’t have great vision and they’re nearly blind in one eye. They also have some hearing issues due to basically getting exposed to loud ass factory equipment constantly. Due to this, they’re very tactile and they often try to hold the hands or touch the faces of other children, but it’s often met with rejection due to often getting mistaken as a worker and usually not properly asking to do so. Their sense of smell is also pretty fried

Goo kid is mostly non-verbal and has a very limited vocabulary as a result of being taken so young and spending most of their time around the workers who don’t speak

The workers often try to give them tools like hammers and wrenches, thinking that they’re another worker

Even if a worker realizes they’re not one of them, they tend to not be very aggressive towards them because they’re very used to them being there. They’re mainly aggressive when goo kid is with another child or gets too close to the machinery

Goo kid’s clothes were taken from a worker. Most of them wear workers overalls, but it’s very common for the overalls to be heavily damaged as the shadow goop stuff isn’t that good when on fabric and they’re often torn by machinery

Because of lack of exposure to light, goo kid has pretty pale skin, which is also very sensitive to the sun, along either their eyes

Worker head canons

Workers act smarter when alone/in small groups and show a lot more individual personality as well. When they’re in groups, the hive mind kind of takes over and they become completely engrossed in keeping the factory running. This is why they tend to act quite dull/stupid when together, but the individual workers seemed to stalk/observe Noone and goo kid before striking

Like nomes, workers do hoard items, often in their pockets/pouches or tool belts if they have one, but they also like to hoard items in their own little nooks and crannies



They sometimes accidentally (or purposefully) steal each other’s tools while working, and yes, they will brawl over a wrench, but they often don’t notice/don’t know who took it

Workers can coalesce into far bigger shadow amalgamations, but it can only occur in very low light conditions, and only if the situation is bad

They have great eyesight in the dark and can see a ton of detail when up close, but otherwise, their vision is quite poor. Their hearing, on the other hand, is excellent, and like birds when they call, their ears have a sort of shadow muscle something something like that that closes when near loud machinery. This is another reason why goo kid doesnt talk besides being primarily non verbal and why they stop noone from speaking. Their hearing also helps with noticing if a machine needs fixing

Workers walk on their toes and their feet are rarely flat on the ground. This, coupled with their claws causes them to have a unique sounding footstep

Their toes/feet are very flexible, allowing them to scramble around and climb quite well

Their arms are proportionally longer since they often work with tools that are quite large for them

Workers can scramble around on all fours quite effectively

Some of them have exposed teeth

They often grab goo kid/lead him “back to the group” when they find them far away from where most of the workers are. It makes exploring difficult, but if goo kid gets stuck/lost, it can be very helpful

Goo kid is a bit scared of the workers, but because they tend to just think they’re another worker, they aren’t absolutely terrified

Singular workers are generally more playful and curious. They’re also more likely to notice something is different about goo kid. They poke them and sometimes try to apply some of the shadow goop to their face thinking that there’s something wrong with him

[anaharae-s]

Nome da história: Maybe, that's the problem

Escrito e editado por @anaharae-s

Artes oficiais e IA

copyrighty: All fanarts used on the coversare with the permission of the artists. Neveruse covers without written permissionfrom the artist and ask for permission bymessage. The covers on my profile arenon-profit, all editing work is free and donefor fun.

[keikoyume]

Kei, your art is amazing💖 and I want to ask some questions

What is your headcanons about ferryman??

How he reacts to others(relationships with them, especially lady)

Helloooow thanks a lot💙💙

You can find most of my headcanons through my fanarts of the Ferryman but here's a list of random facts:

- I believe he's a kind of ancient entity that was victim of the Hunger until the Maw employed him- He loves when the lady invites him to eat here. She often serves him some sake but he doesn't have any taste for them.

- As cryptic as he was in The Sounds of Nightmares I still wanna imagine him being tricky and playful with his victims- He just doesn't look or sound expressive.

- I believe it's because of him if we can find Nomes outside of the Maw- They manage to sneak into his boat everytime he comes for a visit.

- After the lady, the closest person he knows is the Hunter. He loves observing the grumpy guy who manages to capture children with his numerous traps and weapons.

- Oh wait, there's also Roger and Wax Bellman that he's used to discuss with. They never have long discussions, it's just a way for them to pass time and take a break from work.

- Aside that, he just observes the other colleagues from afar. He's aware of their importance but doesn't expect to meet them.

- He considers the North Wind as a silly annoyance but he's never harsher about them.

- Aside shapeshifting, he has the capacity to read the memory of what he eats (as long as it's meat). His favorite food is fishes and he isn't particularly fond of child flesh.

- I theorize that all the large hats we find in various places in the Maw belonged to him as a way for saying he was there (... Or he just forgot them).

- Random Kei fact: he's as tall as the doctor.

- Random Kei fact 2: my main inspiration for his vibe is whales. Just whales🐋

There you go! Thanks for your ask!

[ach-thebrother]

Madame d’Ora

nome d'arte di Dora Philippine Kallmus, fotografa austriaca (1881-1963)

[*] Josephine Baker (1928) 

[*] Gustav Klimt (1907)

[*] Tamara de Lempicka (1931)

[*] Pablo Picasso (1955)

[*] Anna Pavlova (1913)

# [*] Hermann Bahr (1909)

# [*] Ada André (1930)

https://artslife.com/2018/08/18/la-maniera-spregiudicata-madame-dora-fotografa-modernista-fra-vienna-parigi/

https://luisabondoni.wordpress.com/2020/03/14/pillole-di-storia-della-fotografiamadame-dora/

da: https://barbarainwonderlart.com/

https://www.anothermag.com/art-photography/11049/madame-dora-a-pioneering-photographer-working-ahead-of-her-time

https://www.flickr.com/photos/32357038@N08/

# https://artinwords.de/madame-dora-pionierin-der-portraetfotografie-in-wien-und-paris/

[michael-svetbird]

DANCING KITHARA PLAYER: "..a female figure with a zither under her arm, steps towards the left, in an elegant dance step.." "The work is probably attributable to a provincial workshop.." "The provenance of the relief from a burial area supports the hypothesis that it is a slab belonging to a circular funerary monument.." [Txt ©MANM] Limestone From Cardeto near Ancona 3rd quarter of the 1st c. BC.

Museo Archeologico Nazionale delle Marche, Ancona | MANM

Web: https://www.musei.marche.beniculturali.it/musei/?mid=200&nome=museo-archeologico-nazionale-delle-marche

FB: https://www.facebook.com/MuseoArcheologicoAncona

IG: @ museoarcheomarche

MANM | Michael Svetbird phs©msp | 05|07|24 6300X4200 600 [I.-III.] The photographed object is collection item of MANM [Non-commercial fair use | No AI | Author © rights apply | Sorry for the watermarks]

📸 Part of the "Reliefs-Friezes-Slabs-Sculpture" MSP Online Photo-gallery:

👉 D-ART: https://www.deviantart.com/svetbird1234/gallery/72510770/reliefs-friezes-slabs-sculpture

.

[scutzy]

Little Nightmares Concept Art Kids

I’ve resurrected and will return to my Little Nightmares roots.

Starting off with a simple theory in my inbox that I long since accidently deleted, but it went like this: 

[Six could be named “Six” because there were five kids before her in the concept art.]

The concept kids are used as photo models and two of them are used to model two random kids in the first game. However, all five of them together make an appearance in VLN:

The concept kid’s framed photos can be found hidden in the Nest.

I’ve seen people theorize that the nomes here could have once been the children in these photos.

But that’s not the case.

We know why these photos exist. Because we know how the Nest works. A child who has had their photo taken and hung has already been captured and turned into a doll for the Pretender to play with. So these nomes are not the five concept kids. If these kids have their own framed photos then that means their corpses are somewhere on the Nest:

And here they are. All five of them. Having tea and cookies with the Pretender. 

Turns out the concept kids never even made it to the Maw and most likely had died way before Six had even arrived on the Nest. So they have nothing to do with her or why she’s named “Six”. And I doubt these kids had numerical names to begin with. 

Six is the “Sixth” for a whole different reason.

[smolsix]

im back im back and im looking at the footage in this massive post WEE HEE HEE!!

no fr it's a long post

i went onto the website and Low is the boy in a mask and Alone is a girl with the wrench.

starting w the trailer

you can see Low here by himself which is interesting, in single player it makes sense to have one character before you meet your AI companion but I wonder how this could work in multi

Low is also by himself here, before the next scene where he meets up with Alone. So Ig Low is travelling and ends up with Alone.

In the trailer when it shows the busted mirror you can hear the ticking noise that is so well known in LN II for the section where Mono transforms into a new Tall Man (no i still do not believe in the time travel theory and I will not debate it < 3)

A NOME!!! ON THE LEFT!! while it makes sense emotionally that they are here (they are so little nightmares after all), logically it does strike me as curious. It was The Lady who turns children into Nomes, so either this one is just here (i know there's at least one in LN II) or other people can have this power?

Also it's curious they're holding a paper, wonder what they've found? Wouldn't it be insane if it was another advert for The Maw haha (in all likelihood it's probably a map of some sort since their goal is to leave this place, but it can also just be part of the trailer and not gameplay just to give us a better look at the characters)

the little umbrellas fiNALLY made me realise why the art direction feels so different, it's very tim burton. little nightmares could be considered as such but different enough because it lacked a lot of the whimsical aspects of tim burton's designs, but these have some charm to them that is whimsy enough that it is set apart. Anyways, the umbrellas are cute and i am guessing they auto deploy rather than you being able to use them whenever. I wonder if they're visible at all on the character's designs? since both characters have matching ones, do they get them somewhere? make them? i am interested in where they got these haha

also i noticed a lot of netting for this region, i know it's a desert style location (the website even mentions a fair park section and i am BEYOND excited for that because i LOVE clowns and circus stuff)

this particular puzzle is shown a few times in the trailer so they must be quite proud of it (i mean it is cute and i like it haha). i am guessing this is part of the fairgrounds section, as it did feel out of place in the trailer but would make a lot of sense for a location like that (it is very colourful which is pretty new for the series)

Also Low has this cute lil anklet omg

there is an axe here! i wonder if it dislodges when you solve the puzzle. the eye motif is back as it should be, it's very LNcore of them. im guessing the green thing is a giant crayon? being a too small child in a location made for children is a fun concept and furthers with the theme of subverting childlike concepts into something a bit unnerving.

initially i thought these were guests, but looking at the area more closely and now that i know there's a fairgrounds, these are probably The Dwellers and this is probably the fairgrounds.

ofc, we have the sewer hands. they are self explanatory honestly. but i can't help but wonder how they function in game as an enemy. i can see their surprise jump scare factor, but as an active enemy to avoid it does have me wondering how they will work.

the fuses are back! and there's the roaches. you can see Alone with her wrench out here, wonder if it's part of her idle or run animation at all? it could also be because Low has the fuse so she has her wrench ready for whatever reason. I want to say she could possibly smash roaches, but there's so many here I think it'd be impossible

strange thing in the back there........ the gears are cool though, wonder what they're powering?

these shelves are much like the ones in LN 1 in the swaying gnome section of the DLC i mentioned before, it's cool they brought these back as they're very reminiscent of the first game in general. But the jar is very LN II of them.....

I know I keep making comparisons between I II and to III but I honestly do believe the studio is bringing back a lot of motifs, imagery, items, and assets on purpose specifically to feel familiar enough to the audience who has played the first two and might be uneasy about the somewhat new art direction.

also very LN II of them~~ but this could be a carriage like from the fairgrounds? So far the trailer seems to be going in order of locations, though, so who knows.

i wonder what location this could be? And why is Lone able to use mirrors like this, and why is he only doing so now? He also travelled here alone, so I'm super interested in his backstory.

so i was surprised to see the website explicitly call this a giant baby and not a doll when it is very obviously one. unless it is a giant baby wearing a doll head?

the left eye (our left) also clearly has the ability to petrify people, too. the baby itself is very worn down so it's either quite old, or has simply seen a lot of damage. im guessing at one point its other eye also functioned.

this is VERY interesting. these statues of petrified people are larger than the MCs meaning they were probably adults, so the baby really does target anyone probably. it's also strange as these people look... normal? there's nothing going on with them, they are simply petrified. it paints a picture where it's possible that at one point, the little nightmares world *was* normal, and something happened that warped the adults. it's possible the giant baby is man made itself, idk what it is but it feels that way to me. i dont think it was just... born like this.

literally no idea what this could be about. i know it looks like a trash dump but i can't tell for what if anything specific. why the table with jars neatly placed on it? why the giant machine? initially i thought it was like a machine that'd scoop things and then drop it, but it looks like a chute which means something or someone is filling it somehow.

if you watch the animation for this part Low is pulling Alone who stops him and then lets go before they look at you, it's probably a simple animation but it'd be interesting if it told us anything abt their dynamic.

and then from the additional gameplay footage:

we have the eyes returning < 33 tho they do look different-mostly the peep hole is more narrow giving it a more threatening look (pupils become smaller when someone is angry for example)

[thatbeautifulbluebird]

Two Dorothy x Scarecrow Short Stories

♡ | A Beautiful Masterpiece | ♡

Note: In all of my stories, Dorothy is an adult (usually around 20-23).

Dorothy's hand moved quickly yet skillfully across the surface of the canvas. Colorful, broad strokes of paint were added with each touch of the brush. Her eyes moved between her painting and her subject. She tried to capture the texture of his burlap face and the structure of his gloved hands as realistically as possible. This wasn't her first time painting the king of Oz, but so far, she wasn't completely happy with any of her work. No matter how hard Dorothy tried, she always felt that something was missing.

This painting was no different. The library setting where the canvas was set up did nothing to change the farm girl's perception. It was hopeless. However, the king believed his girlfriend was very talented. He wanted to prove that to her and eventually came up with a plan. Getting up from his spot, the straw man walked behind her to look at what she was painting.

"Dorothy," Scarecrow said softly, laying his gloved hands on her shoulders. "You know I love how you paint me, right?"

"I know you do, but..." The farm girl replied, staring sadly at the canvas. "I don't like how I paint you. I feel like I don't do you justice."

"You're too humble sometimes. Everyone in Oz thinks you paint beautifully, and I do as well." The straw man reassured her, but he didn't want to invalidate her feelings. "Still, I understand how you feel."

"You do?" Dorothy sounded surprised at this revelation.

"Of course! I'm an inventor. People see me as one of the best inventors in Oz's history, but I don't think so. The machines I've made, except the Rainbow Mover, have all been very simple." Scarecrow sighed, reflecting on what he saw as his own failures. "The same goes for my leadership. I think I'm an okay king. I keep the Emerald City together, but how does that make me any greater than the Wizard or Pastoria?"

"Your inventions are brilliant, and you're a great king too." The farm girl refused to let him discount his abilities and achievements as his modesty showed. "You always have been, even when you were just starting. You did everything you could after the Jester destroyed Oz, you dealt with a rebellion, and you stopped the Nome King from taking your throne."

"No, Kansas, it wasn't just me! Remember when you came back for the third time, and I was trying to act all regal? I wanted to show all of Oz that I could be more than just that simple scarecrow in the cornfield, but I betrayed myself in the process." The king then brightened, recalling a specific moment of happiness. "This is going to sound corny, but you brought me back to my senses. You taught me that I could be a decent ruler and still be me. Now, you're doubting your ability to paint, but the truth is that you know me better than I even know myself. There's love in every stroke of your brush, and I see it."

Dorothy shook her head. "I'm still not happy with how every portrait of you I make looks. Something is missing, and it bothers me so much."

"Hmm, I think I know what's wrong." He studied the half-finished painting with a pensive expression. "Perhaps, you need to take a new approach."

The farm girl was confused by what she wasn't seeing. "What do you mean by that?"

"Well, in every painting you create of me, it's always just me alone," Scarecrow suggested with a mischievous smirk, clearly hinting at a hidden desire. "Maybe painting someone that I love next to me would make your art more engaging."

"Oh! I see." Dorothy smiled at his statement, knowing exactly what he was trying to say. "I think I have an idea for a new painting."

"Wonderful, I can't wait to see it!" The king briefly kissed her on the lips before leaving. "I do have to go since I have a meeting, but I'm sure you'll create a masterpiece that could rival the talents of Picasso and Van Gogh."

"You only know those painters because of me!" The farm girl commented, picking up her brush once again. "And I am not at their level yet. Also, how can I make a masterpiece when my muse isn't right next to me?"

"Oh, I know I'm always on your mind, and that you never forget me." Scarecrow chuckled at his own joke, feeling quite amused. "You said so yourself all those years ago: 'I'll miss you most of all'. If you miss me, you won't ever let the image of my face leave your mind."

"Okay, wisecracker, you have somewhere to be," Dorothy responded playfully before whispering to him. "I appreciate your attempt at flirting with me though."

————♡————

Hours later, the Scarecrow was in his study, writing his signature on several documents. He remembered the days when he didn't get tired or needed sleep. His human side took a lot out of him, but becoming a shapeshifter was a choice he didn't regret. Being able to change back and forth will make it better. The ability to dream was also nice, although needing to sleep left less time for reading.

Once all of the paperwork was complete, Scarecrow was going to head to bed until he remembered Dorothy and her masterpiece. He decided to go check on her, just to see if any progress had been made. He gently tied his long blonde hair behind him and entered the library where she was working. Covered in paint, Dorothy was working at the canvas fervently. This scene of organized chaos made the king smile. That was his Dorothy who wanted nothing more but to make him feel special. The farm girl was so focused on her work that she didn't notice him. Scarecrow crept up behind her to take a peek at what she was painting, and he gasped. Dorothy heard this noise and turned around to face him with a loving smile.

This painting was different...

A cornfield with a sunny, bright blue sky overhead,

A scarecrow on a pole dressed head to toe in blue Munchkin rags, taking his hat off in greeting,

And a girl with her little dog, dressed in a gingham dress, staring up in amazement at the living scarecrow,

There was a love, a spark evident in the scene, between the two of them.

These were the elements needed to create the perfect painting, at least to most Ozians. Namely, a moment in time was captured, a wonderful memory in both their lives.

"So, I'm guessing you like it?" Dorothy asked confidently, knowing that the painting she made was her best work yet.

"Like it? No! I love it!" Scarecrow exclaimed, absolutely beaming with joy and pride. "It's so beautiful that it almost rivals you, but would you like to know why it's so pretty to me?"

"Why? Because it's so colorful, and you are doing something that isn't sitting?" The farm girl questioned, playing dumb on purpose.

"No, silly!" Scarecrow chuckled at her question. To him, it was obvious. "It's because you're there with me. This is the first time you have ever painted us together, especially in that moment."

"Oh, well, you're right about that." Dorothy looked critically at the painting, pointing out its flaws. "I could have blended that spot a little better."

The king sighed, wishing that she saw her work the way he did. "Kansas, it's perfect. It's the most beautiful painting I've ever seen! Trust me when I say that!"

"Yes, that's true, Stitches, but it's not my masterpiece." The farm girl remarked plainly, disregarding the importance of her work.

"Huh? Then what is? If this isn't it, I don't know what could top it." Scarecrow wondered what could be better than this painting, except for Dorothy herself.

"You forgot this whole time that I already have a masterpiece in my life. The most perfect creation that anyone could lay their eyes on." Dorothy spoke of this supposed masterpiece as if it were ethereal. "How can one of my paintings compare to the handiwork of a paintbrush and Lurline herself?"

"Oh?" Scarecrow folded his arms, raising his eyebrow playfully. "Please show me this masterpiece. I would like to see it."

"Change back first." The farm girl said in a direct but still gentle tone. "You can only see it if you're a scarecrow."

"Okay, if you say so, darling." The human man changed back into a scarecrow, although he was slightly confused.

Dorothy pulled a small handheld mirror out of her pocket and put it in front of her boyfriend's face. "The masterpiece is right there."

Staring back at Scarecrow was his reflection. At first, he struggled to comprehend what she was saying, but eventually, he understood perfectly well. He, a sack of living straw, was her masterpiece. Why didn't he get that message before? As his marvelous brain was processing this new realization, Dorothy confounded Scarecrow even more by kissing his burlap lips. That day, the king realized that there was no question about one thing: this woman would, one day, become his wife.

There was only one reason that Scarecrow knew this, for she accepted him as he truly was, not how he needed to be.

————♡————

Hello everybody! I hope you enjoyed this story! I tried to make it as wholesome as possible and highlight Dorothy's artistic skills. She ends up painting Scarecrow a lot throughout their relationship and subsequent marriage. Also, for those of you who are new to my Oz universe, Scarecrow is a shapeshifter who can change from a scarecrow into a human at will and vice-versa. That will be explained later as to how he became that way.

————♡————

♡ | The Best Medicine | ♡

Dawn was steadily approaching, and Scarecrow hadn't slept a wink. Being part-human brought many new and wonderful sensations like dreams and rest, but being sick was truly awful. The day before, he felt completely fine, and overnight, his forehead became hot, his throat grew scratchy, and his limbs ached. Some sunlight was peaking through the curtains of the window, so he figured that everyone in the palace would be up soon. Scarecrow tried to get out of bed to start his work, but an oppressive coughing fit started.

In the bedroom right next door, Dorothy heard the coughing. She had gotten up early that morning since she had a meeting with the Queen of the Field Mice over a certain Kaildah problem. As Oz's unofficial professional monster slayer, it was her job to make sure that everyone was safe from any dangerous creatures. However, she hoped to deal with the animal civilly without resorting to violence. Lion, the ruler of all the animals who lived in the Ozian forests, would be the arbiter in the dispute.

Although she had to leave soon, Dorothy needed to check on him. Scarecrow would often tinker with broken inventions that would produce smoke, but normally he was in his scarecrow form while doing so to avoid inhaling any harmful substances. After changing out of her nightgown, the farm girl walked up to the king's room. It was rude not to knock, but Dorothy was growing super worried about him. She opened the bedroom door and found that the room was almost completely dark. She saw a figure sitting on the edge of the bed, bent over and coughing uncontrollably. He looked up at her and tried to talk.

"He—Hey—Dor..." Scarecrow remarked quietly, his words being interrupted by coughs. "How—did...you sleep?"

Dorothy sighed with concern. "Scarecrow, you're sick."

"Sick—? You know—I—can't get...sick—like...you can." The king replied folding his arms, still sounding quite hoarse. "I'm—your nurse...not the other way around..."

His girlfriend couldn't help but smile a little at this. "Stitches, you're part human now. Of course, you can get sick, and now I get to help you feel better."

Dorothy went over to the window and opened the curtains. When the morning light shined into the room, she saw what illness Scarecrow had that explained all of his symptoms. A blue rash had formed on his face and had traveled down to his neck, arms, and legs. The king looked down at his rash-covered hands and strangely, he let out a strained laugh.

"Ah, Evian Blue Rash...finally got—me. No wonder—why my body aches..." Scarecrow remarked as if relieved. "At least—you can't catch it, Kansas..."

"That's true, which means I can take care of you without having to keep my distance," Dorothy said happily, sitting beside him on the bed. "And better yet, I can give you plenty of affection."

The king was delighted with the idea of spending the day with her until he realized something. "Wait, don't—you have—to meet up...with Lion and...the Queen of the—Field Mice...? I...don't want to infer—with your plans..."

"Oh, Scarecrow, you don't have to worry." The farm girl reassured him, gently holding his hands in hers. "My number one priority is you. You've always put your work aside to care for me when I have been sick. Besides, I'm sure Lion can handle most of it. Just lay back, and I'll take care of everything."

"Thank you...Kansas...that's sweet." Scarecrow replied lovingly before asking softly. "Can...you...please bring me—my paperwork? I want to...at least be...a bit productive..."

"Of course! I'll be right back." Dorothy left the room and quickly returned with a stack of papers from his desk. "Do you have any important meetings today that I need to go to?"

"No, Dorothy...I had none today thankfully..." The king relaxed a little until he remembered that he did have a meeting. "However, I did...need to—meet with some Munchkin farmers today..."

"Do you want me to write a letter explaining why you can't come, dear?" His girlfriend asked, trying to be as helpful as possible. "I can get on a horse and ride it over to them if you like."

"Thank you...you're—the best regent...any king could ask for." Scarecrow shook his head at her offer to deliver the letter. "I'll have one...of the guards do it—so you don't—tire your beautiful self out..."

A red blush appeared on Dorothy's cheeks. The farm girl glared playfully at him. "You're such a flirt, even when you're sick!"

The king smiled at this, looking back down at his paperwork. "Well, maybe...if you weren't such...a gorgeous woman—I wouldn't feel...the urge to flirt...with you."

"Well, control that urge before I turn into a tomato!" Dorothy's blush deepened a little the more he called her pretty. "Anyways, I'll grab some ink and a pen, and I'll seal it for you. I'm just going to need your signature."

"Oh, anything for you...sweetheart...I'll gladly do..." Scarecrow remarked quietly, closing his eyes and with the cough still affecting his speech. "Just...let me know when you...get back..."

"Will do, Stitches!" The farm girl then went out of the room. She headed to his study to write the letter and afterward went to the library to see if she could find anything on how to cure his disease.

————♡————

Around an hour later, Dorothy returned with the letter and a book titled The History of Ev. In a chapter of it, there was a section of Evian Blue Rash. There was no known cure, but it usually went away on its own in two weeks. This fact discouraged the farm girl a little because she was hoping to bring Scarecrow some relief. He seemed to be in pain, especially from the incessant coughing. There wasn't much written on the disease, so Dorothy resolved to give him cough medicine and try to bring the fever down.

She managed to brew a pot of tea and found a bottle of cough medicine. Jellia had offered to bring both up to the king, but Dorothy declined but thanked the maid anyway. She remembered all the times Scarecrow had cared for her, especially when she caught a terrible flu that eventually turned into pneumonia. He was right by her side the entire time and was reluctant to leave her when he had to. He would even sit in a chair by her side for hours while doing paperwork or writing letters. The farm girl saw this illness as her opportunity to repay all of the love and compassion that the king had shown her.

Dorothy carefully opened the door and walked into the bedroom with a tea tray in hand. The farm girl set the tray down on a dresser near the door and went over to him. She noticed he was finally asleep, snoring softly. His peaceful face made her smile, and she gently kissed him on the forehead. His whole forehead was covered by the blue rash; however, a few seconds later, the rash disappeared on the spot where her lips landed. Dorothy gasped in surprise and confusion. Were her eyes deceiving her? The farm girl decided to see if the kiss had gotten rid of the rash. She picked up his limp, rash-covered hand and brought it to her lips. Sure enough, the spot she kissed was soft once again. There was a cure!

Although she felt bad, Dorothy knew she had to wake Scarecrow up. She tried to do it quietly, but her excitement came out. "Stitches, wake up, please. I found a cure!"

The king jolted awake, but when he saw it was just Dorothy, he smiled and looked up at her. "Did...I hear—you say cure?"

"Yes! I think I found a way to get rid of your rash! It may seem weird but bear with me." The farm girl remarked, taking his hand once again, kissing it, and showing him the rash-free patch of skin. "My kisses make your skin smooth again!"

"Oh...Kansas..." Scarecrow replied skeptically, letting out another strained laugh. "Are you sure...this isn't just—some optic illusion...so that you have...an excuse to kiss me...everywhere?"

"I'm being serious!" Dorothy exclaimed, confident that it was real. "My kisses cured your rash!"

"Well—kiss me on the lips—and let's see what—happens..." The king suggested with a sly grin, still thinking this was some elaborate flirt.

"Alright, sweetheart." The farm girl sighed in defeat, knowing he didn't believe her. "If that will make you feel better."

With that, Dorothy kissed him on the lips for a few seconds. When she eventually pulled back, the farm girl noticed his rash was completely gone. She was in shock. The king's entire body was back to its normal peachy tone.

Scarecrow, whose voice was still hoarse, lovingly cupped her cheek and spoke. "I knew...the cure this whole time. Though...a kiss from one's true love—only cures the rash..."

Dorothy smiled down at him and held his hand that was on her cheek. "Why didn't you say anything?"

"Well, I wanted you...to figure it out—for yourself...so you could—feel like you were...helping me." The king remarked as a faint blush appeared on his face. "I knew...you would...end up kissing...me eventually."

"I'm confused as to how a kiss gets rid of the rash." The farm girl flipped through the pages of the book, looking for the answer. "Also, the book said there was no cure."

"Magic, I suppose..." Scarecrow smirked at her. "Oh, Dorothy...the reason why—it isn't in the book...is because...no one in Nonestica...has ever been—with someone from your world...other than me..."

Dorothy seemed surprised as she connected the dots. "Wait, so did it only work because I'm not from Nonestica?"

The king nodded slightly, too tired to raise his head off the pillow. "I guess...any Nonestican who kisses an infected person...gets the rash...but you can't catch it."

"Well, you still aren't completely cured yet!" The farm girl went back to grab a cold compress and a bowl of ice-cold water. "I'll use 'my magic' to get rid of that awful cough and raging fever."

Scarecrow seemed a little delirious when he sighed in content. "I'm happy that my true love...is a woman from Kansas...you have the softest lips ever..."

"Stitches, that's your fever talking." Dorothy gently put a cold compress on his forehead before commenting on his remark. "Still, I'm glad you enjoy my lips."

Before the king could speak, he felt increasingly sleepy. Dorothy noticed this and softly kissed him on the lips. "Sleep well, sweetheart. I'll replace the compress every twenty minutes or so to hopefully get your fever down."

Scarecrow smiled at her and opened his eyes a little bit before drifting off. "Good—night...Kansas...thank—you..."

After he fell asleep, Dorothy sat down at the table with the teapot. She poured herself a cup of tea and drank it quickly. When she saw him at first, the farm girl was afraid, not knowing if she would be able to cure the disease. True love's kiss was actually a real thing and it was effective medicine. When he woke up, Dorothy would give him a cup of tea with some cough medicine mixed in and a glass of water to prevent any dehydration. She looked at the sealed letter in her hand and sighed. Dorothy didn't like going against his wishes, but she was a faster rider than any of the guards. Jellia took her seat while the farm girl delivered the letter. Luckily, the king didn't wake up and was none the wiser about how the letter got to its destination.

————♡————

Hello again everyone! Yes, of course, I did the old switch-a-roo. It's Scarecrow's first time being sick, and Dorothy wants to take care of him. I do believe that true love's kiss can have some power in stories, but it's not a cure-all. As seen here, Scarecrow still has a cough and a fever as a result of the rash.

————♡————

Sorry for the super long post, but it's 2 stories in one. I also wanted to post them both on here. Anyways, I hope all of my fellow shippers enjoyed this!

[end-the-transmission]

I adore married adult Six and Mono. Have some cute doodles and a lovely day <3 uvu

[mishimamiravenecia]

CA' D'ORO

(English / Español / Italiano)

The Palazzo Ca' d'Oro, located on the banks of Venice's iconic Grand Canal is a testament to Venice's rich architectural Gothic legacy. . Originally adorned with glittering gold leaf, vermilion and ultramarine ornaments, this masterpiece truly lived up to its name, which translates as 'House of Gold'.

It was built in the middle of the 15th century (1421) as the residence of the Procurator of San Marco, Marino Contarini. In 1916, Baron Giorgio Franchetti donated it to the Italian government and, after some renovations, it was opened to the public to display the works of art that the nobleman had collected throughout his life.

Among the most valuable works are the St. Sebastian by Andrea Mantegna, the Portrait of Marcello Durazzo by Antoon van Dyck, the Double portrait by Tullio Lombardo, the Venere allo specchio by Titian, two views by Francesco Guardi, the Crucifixion by Jan van Eyck, the Sleeping Venus by Paris Bordone and what remains of Titian s frescoes painted on the side façade of the Fondaco dei Tedeschi, among which the Juditta stands out. By Vittore Carpaccio and workshop are the three canvases with the Stories of the Virgin from the Scuola degli Albanesi.

In addition to the exhibition rooms, the museum houses various workshops for the conservation and restoration of works of art.

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El Palacio Ca' d'Oro, ubicado a orillas del emblemático Gran Canal de Venecia, es un testimonio del rico legado arquitectónico gótico de Venecia. . Originalmente adornada con brillantes hojas de oro, bermellón y adornos ultramarinos, esta obra maestra realmente hizo honor a su nombre, que se traduce como "Casa de Oro".

La construcción se hizo a mediados del siglo XV (1421), para ser la residencia del Procurador de San Marcos, Marino Contarini. En 1916, el barón Giorgio Franchetti se lo cedió al gobierno italiano, después de unas reformas se abrió al público para exponer las obras de arte que el noble reunió a lo largo de su vida.

Tra le opere di maggior pregio vi sono il San Sebastiano di Andrea Mantegna, il Ritratto di Marcello Durazzo di Antoon van Dyck, il Doppio ritratto di Tullio Lombardo, la Venere allo specchio di Tiziano, due vedute di Francesco Guardi, la Crocifissione di Jan van Eyck, la Venere dormiente di Paris Bordone e ciò che resta degli affreschi di Tiziano dipinti sulla facciata laterale del Fondaco dei Tedeschi, tra cui spicca la Giuditta. Di Vittore Carpaccio e bottega sono i tre teleri con le Storie della Vergine provenienti dalla Scuola degli Albanesi.

Oltre alle sale espositive, il museo ospita vari laboratori per la conservazione e il restauro di opere d'arte.

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Il Palazzo Ca' d'Oro, situato sulle rive dell'iconico Canal Grande di Venezia, è una testimonianza della ricca eredità architettonica gotica di Venezia. Originariamente adornato con scintillanti ornamenti in foglia d'oro, vermiglio e ultramarino, questo capolavoro era davvero all'altezza del suo nome, che si traduce come "Casa d'oro".

Fu costruito a metà del XV secolo (1421) come residenza del Procuratore di San Marco, Marino Contarini. Nel 1916 il barone Giorgio Franchetti lo cedette al governo italiano e, dopo alcuni lavori di ristrutturazione, fu aperto al pubblico per esporre le opere d'arte che il nobile collezionò nel corso della sua vita.

Tra le opere più preziose ci sono il St. Sebastiano di Andrea Mantegna, il Ritratto di Marcello Durazzo di Antoon van Dyck, il Doppio ritratto di Tullio Lombardo, il Venere allo specchio di Tiziano, due vedute di Francesco Guardi, il Crocifissione di Jan van Eyck, la Venere addormentata di Paris Bordone e quel che resta degli affreschi di Tiziano dipinti sulla facciata laterale del Fondaco dei Tedeschi, tra i quali spicca la Giuditta. Di Vittore Carpaccio e bottega sono le tre tele con le Storie della Vergine della Scuola degli Albanesi.

Oltre alle sale espositive, il museo ospita diversi laboratori per la conservazione e il restauro delle opere d'arte.

Video: mimejorvenecia.com

[anaharae-s]

Nome da história: Looks like macaron Nome da autora: Dilunari Design por @anaharae-s Artes oficiais

copyrighty: All fanarts used on the coversare with the permission of the artists. Neveruse covers without written permissionfrom the artist and ask for permission bymessage. The covers on my profile arenon-profit, all editing work is free and donefor fun.

[dhr-ao3]

Let The Dark In - Tradução em Portugês

Let The Dark In - Tradução em Portugês https://ift.tt/7EBaACk by lilithscrolls Em um mundo onde a ascensão de Voldemort nunca aconteceu, a sociedade bruxa tem encontrado novos meios para reprimir e excluir aqueles que consideram não pertencer ao mundo bruxo. Hermione Granger frequenta Hogwarts como um dos poucos estudantes nascidos trouxas. Apesar de seus esforços para se destacar, seu futuro parecia gravado em uma pedra até o sexto ano, quando o Torneio Tribruxo é anunciado e tudo começa a mudar. "Maldição," diz Ron ao lado dela. "Eu acho que aquele loiro nojento na frente é um Malfoy." Ela desvia os olhos para encarar Ron. "Um o que?" Ele ri e aponta para o garoto loiro. "Malfoy. Eu não sei seu primeiro nome, mas ele definitivamente tem que ser um Malfoy. Uma família puro sangue antiga da Grã-Bretanha. Idiotas, a maior parte deles. Sempre Sonserinos aqui em Hogwarts. Ouvi dizer que o pai dele enviou ele para Durmstrang porque não queria seu filho perto de nenhum nascido trouxa. Words: 3517, Chapters: 1/?, Language: Português brasileiro Fandoms: Harry Potter - J. K. Rowling Rating: Mature Warnings: Creator Chose Not To Use Archive Warnings Categories: F/M Characters: Hermione Granger, Draco Malfoy, Harry Potter, Ron Weasley, Viktor Krum, Albus Dumbledore, Ginny Weasley, Cormac McLaggen, Rita Skeeter, Severus Snape Relationships: Hermione Granger/Draco Malfoy Additional Tags: Durmstrang Student Draco Malfoy, Alternate Universe - No Voldemort, Dark Magic, The Dark Arts (Harry Potter), Morally Grey Hermione Granger, Slow Burn, Not Voldemort Does Not Mean No Bigotry, Triwizard Tournament, Angst, Hogwarts Sixth Year, Violence, attempted sexual coersion, Triwizard Champion Hermione Granger, Minor Character Death, Implied/Referenced Suicide, Secret Relationship, Bigotry & Prejudice, Sexual Content, Rivals With Benefits, Combat Training As Foreplay via AO3 works tagged 'Hermione Granger/Draco Malfoy' https://ift.tt/CGOTm19 May 07, 2024 at 06:39AM

[10siglosdehistoria]

LA CRUZ PROCESIONAL DE LOTARIO

THE PROCESSIONAL CROSS OF LOTARIO

LA CROCE PROCESSIONALE DI LOTARIO

(Español / English / Italiano)

Se llama así por un sello de cristal de roca verdoso grabado cerca de su base y que lleva el nombre y el retrato del gobernante carolingio Lotario ll (835-869)

La riqueza de las cruces de procesión varía según las épocas y la riqueza de los patrocinadores. Algunas están decoradas con piedras preciosas o camafeos, mientras que otras presentan un trabajo de orfebrería.

Una de las más conocidas de todas es la cruz de Lotario, que se conserva en la catedral de Aquisgrán, en Alemania. Esta cruz fue realizada por orfebres en torno al año 1000 y utiliza un camafeo del emperador romano Augusto del siglo I para legitimar el poder imperial.

El sello de cuarzo que representa a Lotario ll tiene una inscripción latina que dice “Cristo, ayuda al rey Lotario”. Se cree que el sello, junto con el camafeo, serviría para enlazar a la dinastía lotariana con los emperadores romanos originales y afirmar que eran los representantes de Dios y del Imperio romano en la tierra.

***

It is named after a greenish rock crystal seal engraved near its base and bearing the name and portrait of the Carolingian ruler Lotarius II (835-869).

The richness of processional crosses varies according to the period and the wealth of the sponsors. Some are decorated with precious stones or cameos, while others feature gold work.

One of the best known of all is the Lotarius cross, which is preserved in Aachen Cathedral in Germany. This cross was made by goldsmiths around the year 1000 and uses a cameo of the 1st century Roman Emperor Augustus to legitimise imperial power.

The quartz seal depicting Lotarius II has a Latin inscription that reads 'Christ, help King Lotarius'. It is thought that the seal, along with the cameo, would serve to link the Lotarian dynasty to the original Roman emperors and affirm that they were the representatives of God and the Roman Empire on earth.

***

Prende il nome da un sigillo di cristallo di rocca verdastro inciso vicino alla sua base e recante il nome e il ritratto del sovrano carolingio Lotario II (835-869).

La ricchezza delle croci processionali varia a seconda del periodo e della ricchezza degli sponsor. Alcune sono decorate con pietre preziose o cammei, mentre altre presentano lavorazioni in oro.

Una delle più note è la croce di Lotario, conservata nella cattedrale di Aquisgrana in Germania. Questa croce fu realizzata da orafi intorno all'anno 1000 e utilizza un cammeo dell'imperatore romano Augusto del I secolo per legittimare il potere imperiale.

Il sigillo di quarzo raffigurante Lotario II reca un'iscrizione latina che recita "Cristo, aiuta il re Lotario". Si pensa che il sigillo, insieme al cammeo, servisse a collegare la dinastia dei Lotari agli imperatori romani originari e ad affermare che essi erano i rappresentanti di Dio e dell'Impero romano sulla terra.

Fuente: Historia y arte de los pueblos.

[miriisis]

🇺🇲 Character from an RPG I make, his name is Greg, he is a vampire who works as a jester, he also plays the guitar and uses magic with it. One of the most fun characters on the table.

🇧🇷 Personagem de um RPG que eu faço, o nome dele é Greg, ele é um vampiro que trabalha como bobo da corte, ele também toca guitarra e usa magia com ela. Um dos personagens mais divertidos da mesa.

🇺🇲 Doodle before art.

🇧🇷 Rabisco antes da arte.