#Enoch Fashion

[artthatgivesmefeelings]

Enoch Zeeman (Flemish, c.1689/90-1744) Portrait Of A Lady Maynard, ca.1745 Birmingham Museums Trust

[starryeyed-seer]

I have ideas for fun hallowmas outfits but art is hard. I'm loving all the great art people are making and I'm like... i wish I was better at art especially historical-y fashion design. Every time I try drawing them it just doesn't look right.

I may keep trying, I really want to do the Neath fashion collection too!! But my art skills are limited on getting stuff to look how I want. This is why I usually draw weird creatures instead

[coffeeanddimlights]

do you think when enoch married horace he bragged to the others that he stole away all their good food?

enoch bagged the best chef in all of peculiardom. 5 star meals three times a day.

they moved out and miss p had to cook for everyone and it just wasn't the same. claire complained about not having horace's food in ages during a loop family reunion and enoch laughed in her face

[enochs-g0r3-jars]

I made Enoch emo/scene, ur welcome

(character by Ransom Riggs and og drawing from the graphic novel by Cassandra Jean, I just edited the pic)

Also I love this pic of Horace from Museum of Wonders, he looks so fancy

༺༻

[gogmstuff]

Early 1730s dresses (from top to bottom) -

1730 Tea Party at Lord Harrington's by C. Phillips detail (Yale Center for British Art, Yale University - New Haven, Connecticut, USA). Probably from Wikimedia; fixed spots with Pshop 1247X1623. There are many caps and veils, square necklines, and laced bodices with revers. But full-blown panniers are not to be seen.

1730 Marquise de Gueydan as Flora by Nicolas de Largillière (Musée Granee - Aix-en-Provence, Bouches-du-Rhône, Provence-Alpes-Côte d'Azur, France). From cutlermiles.com/portrait-of-marquise-de-gueydan-as-flora-nicolas-de-largilliere/ 1908X2484. She wears a stout Swiss belt and cleft coiffure that harken back to the late Louis XIV era.

ca. 1730 Empress Elisabeth Christine by Johann Gottfried Auerbach (auctioned, probably by Lempertz). From Wikimedia trimmed 1715X2352. She wears a round skirt and a scoop neckline.

ca. 1730 Polyxena of Hesse-Rotenburg, Queen of Sardinia by Maria Giovanna Clementi (location ?). From tumblr.com/blog/view/jeannepompadour; enlarged by half 1053X1385. Her dress has a deep V neckline filled in by a modesty piece.

ca. 1730 Rhoda Apreece, Mrs Francis Blake Delaval attributed to Enoch Seeman the Younger (Seaton Delaval - Seaton Sluice, Northumberland, UK). From artuk.org; enlarged by half 994X1200. The ruff makes this a Van Dyck revival dress. The laced vest and jaunty hat lend a casual air to the portrait.

ca. 1730 Robe volante (Musée de la Mode - Paris, France). From fripperiesandfobs.tumblr.com-post-139802377452-robe-volante-ca-1730-from-the-palais-galliera 1140X1620. Dresses before the 1750s often had cuffs that could be substantial like these.

1731 Die Liebeserklärung by Jean François de Troy (Sanssouci, Stiftung Preußische Schlösser und Gärten Berlin - Brandenburg, Germany). From artsandculture.google.com/asset/die-liebeserklärung-jean-françois-de-troy/XAFpCyLiWrxHZw?h 3074X24.12. Known in the Anglophone world as “The Declaration of Love. The large patterns mark this as early century. The robe à la française is firmly established in the form it would take until the late Louis XVI period.

1731 Infanta Maria Teresa Antonia de Borbón by Jean Ranc (Museo del Prado - Madrid, Spain). From their Web site; removed spots and streaks with Photoshop 2621X3051. Spain was ruled by Borbóns after the last Habsburg was cleared out in the early 1700s.

1731 Julia Calverley, Lady Trevelyan, by Enoch Seeman the Younger (Wallington Hall - Wallington, Northumberland, UK). From nationaltrustcollections.org.uk/object/584399; erased navigation marks in corners & fixed spots w Pshop 1616X1992. Clasps replace lacing to close this bodice.

1731 Lady by John Vanderbank (location ?). From the Philip Mould Historical Portraits Image Library 920X1214. The dress is Van Dyck revival similar to the one worn by Rhoda Apreece.

[themidcenturyscene]

Enoch Bolles, Film Fun, 1942

Via The Blog on Enoch

[enoch-and]

ステンドグラス／ピアス

web shop

https://enoch.thebase.in/

[pyrasterran]

Red carpet Rocio w/ @PutridVodka 's OC Enoch & thx to @FrankenT00n for dress design

[whencyclopedia]

Apocrypha and Pseudepigrapha

In the 2nd century CE, as Christianity was in the process of becoming an independent religion, a body of literature emerged that scholars classify as apocrypha and pseudepigrapha. Apocrypha (Greek: apokryptein, "to hide away") are those books considered outside the canon, meaning that they were not included when the New Testament became official after Constantine’s conversion to Christianity.

Pseudepigrapha ("false writing") were bluntly forgeries. They were written or pretended to be written in the name of a past famous person to provide credibility. Jews utilized this literary device, in their apocalyptic texts that pretend to be written by Enoch, Moses, and Abraham. Because they were in heaven, they were sources of both traditional and hidden secrets.

Christian religious expression encompassed ecstatic behavior, such as "speaking in tongues," spirit possession resulting in prophecy, and developed rules and regulations on uses of the body. Christian behavior was framed with the concepts of celibacy (no marriage contract) and chastity (no sexual intercourse) as ideal behavior. Charis ("gifts") were understood as gifts from the spirit of God. Scholars describe this literature as a particular point of view known as 'charismatic Christianity.' In these stories, the concept of charismatic gifts provided the background for the performance of miracles, healings, and conversions. All of the Christian characters remain chaste and celibate.

The Infancy Gospel of Thomas

People wanted to know more details about the movement. Only Matthew and Luke provided the birth story of Jesus of Nazareth, but then they moved directly to the ministry. What was Jesus like as a child? Did he know from the beginning that he was the messiah? The Infancy Gospel of Thomas answered those questions. The writer of this text remains unknown, but it was assigned to an early missionary named Thomas. For many modern Christians, the child Jesus is not what they expect; this is a portrait of what we would now deem a super-brat.

In the ancient world as well as the modern, people believed that great men must have had an unusual birth and childhood, where they showed early signs of being a prodigy. This was the case with the young Jesus. The text opens with Jesus playing in the mud (like all children). He fashioned the mud into birds which flew, but when Jesus played with the other boys on the street, he got mad and struck one dead. The parents came to Mary and Joseph with a plea to control their child, and so they tried to find him a tutor, but of course, Jesus was smarter than all of them.

One day a neighbor boy fell off a roof and died. Everyone blamed Jesus, so he then resurrected the boy from the dead (a preview of his later activity as an adult). This text does have a happy ending; Jesus went back and resurrected the first boy he struck down. The overall purpose of the text is to show the young Jesus (who has great power) learning eventually to control his gifts to be used for the salvation of humankind only and not his own interests.

Continue reading...

[pers-books]

Obituary

William Russell obituary

Stage and screen actor who was part of the original cast of Doctor Who

Michael Coveney Tue 4 Jun 2024 17.40 BST

William Russell, left, as Ian Chesterton, with William Hartnell as the Doctor, Jacqueline Hill as Barbara and Carole Ann Ford as Susan in the Doctor Who serial The Keys of Marinus, 1964. Photograph: BBC

On 23 November 1963 – the day after the assassination of President John F Kennedy – the actor William Russell, who has died aged 99, appearing in a new BBC television series, approached what looked like an old-fashioned police box in a scrapyard, from which an old chap emerged, saying he was the doctor. Russell responded: “Doctor Who?”

And so was launched one of the most popular TV series of all time, although the viewing figures that night were low because of the political upheaval, so the same episode was shown again a week later. It caught on, big time, with Russell – as the science schoolteacher Ian Chesterton – and William Hartnell as the Doctor establishing themselves alongside Jacqueline Hill as the history teacher Barbara Wright and Carole Ann Ford as Susan Foreman.

Russell stayed until 1965, returning to the show in 2022 in a cameo appearance as Ian and, since then, participating happily in all the hoop-la and fanzine convention-hopping, signing and schmoozing that such a phenomenon engenders.

Before that, though, Russell had achieved prominence in the title role of the ITV series The Adventures of Sir Lancelot (1956-57) – he was strongly built with an air of dashing bravado about him; he had been an RAF officer in the later stages of the second world war – and as the lead in a 1957 BBC television adaptation of Nicholas Nickleby, transmitted live in 18 weekly episodes.

William Russell on the set of the 1950s television series The Adventures of Sir Lancelot. Photograph: Mirrorpix/Getty Images

When Sir Lancelot went to the US, the first British TV import to be shot in colour for an American audience, Russell rode down Fifth Avenue on a horse in full regalia, like some returning, mystical, medieval knight in the heart of Normandy. The show was a smash hit.

By now he was established in movies, playing a servant to John Mills in The Gift Horse (1952) and a clutch of second world war action movies including They Who Dare (1954) opposite Dirk Bogarde, directed by Lewis “All Quiet on the Western Front” Milestone – he met his first wife, the French model and actor Balbina Gutierrez on a boat sailing to Cyprus to a location shoot in Malta – and Ronald Neame’s The Man Who Never Was (1956), the first Operation Mincemeat movie, in which he played Gloria Grahame’s fiance.

Until this point in his career, he was known as Russell Enoch. But Norman Wisdom, with whom he played in the knockabout comedy farce One Good Turn (1955) objected to his surname because he felt (oddly) that it would publicise a vaudevillian rival of his called Enoch. So, somewhat meekly, and to keep Wisdom happy, he became William Russell, although, in the 1980s, for happy and productive periods with the Actors Touring Company and the RSC, he reverted to the name Russell Enoch. Later, he settled again on William Russell. All very confusing for the historians. His doorbell across the road from me in north London bore the legend “Enoch”.

He was born in Sunderland, the only child of Alfred Enoch, a salesman and small business entrepreneur, and his wife, Eva (nee Pile). They moved to Solihull, and then Wolverhampton, where William attended the grammar school before moving on to Fettes college in Edinburgh and Trinity College, Oxford, where his economics tutor was the brilliant Labour parliamentarian Anthony Crosland.

But Russell didn’t “get” the economics part of the PPE (philosophy, politics and economics) course and switched, much to Crosland’s relief, to English. In those years, 1943-46, he worked out his national service and appeared in revues and plays with such talented contemporaries as Kenneth Tynan, Tony Richardson and Sandy Wilson.

Derek Ware, a fight co-ordinator, runs through a scene with Russell during a break in filming the Doctor Who story The Crusades at the BBC studios, Ealing, in 1965. Photograph: Mirrorpix/Getty Images

On graduating, he played in weekly rep in Tunbridge Wells, fortnightly rep at the Oxford Playhouse and featured, modestly, in the Alec Guinness Hamlet of 1951 at the New (now the Noël Coward) theatre. He had big roles in seasons at the Bristol Old Vic and the Oxford Playhouse in the early 60s, while on television he was in JB Priestley’s An Inspector Calls with John Gregson, and was St John Rivers in Jane Eyre.

He played Shylock and Ford (in the Merry Wives of Windsor) in 1968-69 at the Open Air, Regent’s Park, before joining the RSC in 1970 as the Provost in Measure for Measure (with Ian Richardson and Ben Kingsley), Lord Rivers in Norman Rodway’s Richard III and Salisbury in a touring King John, with the title role played by Patrick Stewart.

His billing slipped in movies, but he played small parts in good films such as Superman (1978), starring Christopher Reeve, as one of the Elders; as a passerby drawn into the violence in the Spanish-American slasher film Deadly Manor (1990); and in Bertrand Tavernier’s Death Watch (1980), a sci-fi futuristic fable about celebrity, reality TV and corruption, starring Romy Schneider and Harvey Keitel.

With John Retallack’s Actors Touring Company in the 80s, he was a lurching, apoplectic Sir John Brute in John Vanbrugh’s The Provok’d Wife, possessing, said Jonathan Keates in the Guardian, “a weirdly philosophical elegance”; a civilised Alonso, expertly discharging some of the best speeches in The Tempest; and a quick-change virtuosic king, peasant, soldier and tsar in Alfred Jarry’s 1896 surrealist satire Ubu Roi in the Cyril Connolly translation.

Back at the RSC in 1989, he was the courtly official Egeus in white spats (Helena wore Doc Martens) in an outstanding production of A Midsummer Night’s Dream by John Caird, and both the Ghost and First Player in Mark Rylance’s pyjama-clad Hamlet directed by Ron Daniels. In 1994 he took over (from Peter Cellier) as Pinchard in Peter Hall’s delightful production of Feydeau’s Le Dindon, retitled in translation An Absolute Turkey, which it wasn’t.

He rejoined Rylance in that actor/director’s opening season in 1997 at the new Shakespeare’s Globe. He was King Charles VI of France in Henry V and Tutor to Tim in Thomas Middleton’s riotous Jacobean city comedy, A Chaste Maid in Cheapside. Many years later, in 2021, his son Alfred Enoch (Dean Thomas in the Harry Potter movies), would play on the same stage as a fired-up Romeo.

Russell is survived by his second wife, Etheline (nee Lewis), a doctor, whom he married in 1984, and their son, Alfred, and by his children, Vanessa, Laetitia and Robert, from his marriage to Balbina, which ended in divorce, and four grandchildren, James, Elise, Amy and Ayo.

 William Russell Enoch, actor, born 19 November 1924; died 3 June 2024.

-- I'm a bit annoyed there's no mention of the fact that William continued to play Ian Chesterton for Big Finish.

[fourteentrout]

"You Ain't Nothing But A—"

Eris Week Day 4: Hounds

Pairing: Azriel/Eris Vanserra

Rating: Mature

Length: 7,487 words

My longest contribution to @erisweekofficial, this is a 5 +1 fic about Eris (casually) treating Azriel like one of his smokehounds!

Read here on AO3

Very short preview below the cut! barrier design by @tsunami-of-tears

The breeze that wended its way through the Autumn woods tickled Azriel's hair and made the fiery half-dead leaves rustle pleasantly. They flicked and whirled, some tumbling to the ground in lazy little arcs and twists, glimmers of the finest ruby and auburn and gold. Azriel could almost fool himself into thinking that the forest didn't belong to some of the cruelest scum in all of Prythian. 

It was dusk, a good time of day for his shadows. The shade of the trees grew long and deep, so dark that it almost seemed like something one could trip and fall into. Fortunately for Azriel, he could. He moved through the forest fluidly from shadow to shadow, his tendrils of darkness reaching out to every corner of the forest, searching for the remaining Vanserra. Finding Ronin and Enoch and relieving them of their memories had been quick and uncomplicated work, but Azriel was no fool. Eris was the trickiest fox of their litter, and he was not going to make it easy for the spymaster. 

As much was proven when a blazing ring of fire shot up around Azriel right as he emerged from the shadow of a skinnier, less fortunate tree. He cursed as the heat pressed in on him, the flames licking well above his head. Not burning, one of his shadows sang frantically, taking cover underneath his wings. The assurance didn't matter. Azriel's panic had spiked, his heart rate along with it, and he couldn't see through the brightness, couldn't breathe through the smoke, couldn't even figure out what to do.

Not burning, the shadow insisted weakly. Just as Azriel's stomach turned in a fashion far too dramatic for his liking, a split appeared in the flames. The wall of fire parted like stage show curtains, and before Azriel appeared none other than Eris Vanserra, in all his infuriating splendor.

[makairodonx]

Spectember 2024 Day 22: Imperial Greatsword

At 16-18 meters long and about three to six tons in weight, the Imperial Greatsword is the largest species of the billfish genus Megaxiphias or Greatswords, Enoch are very distant relatives of the sailfish and swordfish that have specifically evolved to feed upon swift, fast-moving prey up to the size of a beluga Potworia’s second-largest Bony fish species after the Regal Doublefin, and one of the largest, fastest and most fearsome predators ever to swim across the planet’s seas. Megaxiphias imperator inhabits the cold, temperate southern hemisphere half of the vast global ocean that separates one end of Jariloia from the other, and it hunts schooling fish, the slightly larger creatures that are attracted to them such as the wolf-fish, a few species of trevally, as well as swimming coastal parachiropterans. As it does so, the giant fish raises a huge, colorful sail which reduces sideways oscillations of its head, and thus enable the 5-meter-long bill, which can be used to impale prey animals in a similar fashion to Vlad lll’s infamous execution method, to be less detectable to them.

The Imperial Greatsword is capable of accelerating at burst speeds of up to 40 km/h, and it uses its bill to hit its fast moving prey by tapping at them at short-range movement or by slashing at them via long-range horizontal movement. It is also during some of these rapid pursuits that the giant, macropredatory fish will sometimes breach the surface of the water 5 meters high into the air, much like a great white shark or a humpback whale, with the prey animal finally caught in its jaws.

[gogmstuff]

1730s Close out, for a while (from top to bottom) -

ca. 1735 Elisabetta Algarotti Dandolo by Rosalba Carriera (location ?). From pinterest.com/source/karoline-von-manderscheid.tumblr.com/ 1034X1341.

ca. 1735 Probably Maria Clementina Sobieska by Pier Leone (Muzeum Pałacu Króla Jana III w Wilanowie - Warszawa, Poland). From Google Art Project via Wikimedia; fixed spots w Pshop 2251X3000.

ca. 1735/1740 Lady Mary Bellings-Arundell, Baroness Arundell of Wardour (1716–1769) by Enoch Seeman the Younger (Oxburgh Hall - Oxburgh, near Swffham, Norfolk, UK). From Wikimedia 943X1200.

ca. 1737 Maria Josepha of Austria by Louis de Silvestre (Stadtgeschichtliches Museum - Leipzig, Sachsen, Germany) From Google Art Project via liveinternet.ru/users/marylai/post292168318/ 2345X300.

ca. 1738 Princess Amellia of Great Britain by Jean Baptiste van Loo (auctioned by Sotheby's). Probably from Wikimedia; fixed spots & cracks w Pshop 1308X1713.

ca. 1739 Elisabeth Christine von Braunschweig-Bevern by Antoine Pesne (Stiftung Preußische Schlösser und Gärten - specific location ?). From Wikimedia; fixed spots w Pshop 2431X3322.

ca. 1739 Lady by Herman van der Mijn (location ?). From tumblr.com/jeannepompadour 642X792.

ca. 1739-1740 Woman Standing in a Garden by Arthur Devis (location ?). From history-of-fashion.tumblr.com/post/123799742529/ab-1739-1740-arthur-devis-portrait-of-a-woman via pinterest.com/amisiak1193/stroje-damskie-1700-1800/;  fit to screen 1980X2870.

[dragonsdendoodles]

opinions/headcanons (if it applies) on trans enoch

Opinion is yes canon I’m trans and I said so

Headcanons (this almost entirely comes from my own experience being transmasc):

Noor had to drag him to the present to get him an actual chest binder because he kept using bandages he stole from the medicine cabinet because “it hasn’t hurt me in 70 years I’m fine Noor I promise”

Even after that he has to frequently be reminded to take breaks from the thing because he just. Forgets

None of the others, including Miss Peregrine, have ever known him at a time he didn’t at least socially pass. He’s just young enough that his voice could make sense for a cisgender boy but he still doesn’t like it

His last ymbryne was not a fan of him being transgender. It was one of many things she took as him being stubborn and rebellious which is a pretty big reason he is now both of those things

For a few decades, only Miss Peregrine actually knew he was trans. There were a few slip-ups and some things that had to be quickly explained away, but for the most part no one knew for certain until he started fully opening up to the others later on. Abe and Victor never knew.

He’s incredibly insecure about how he looks. He can’t look in a mirror for very long without picking apart the things he thinks make him look feminine, and he’ll spend half an hour in the bathroom scrutinizing himself if you let him. Horace helps with that, but he can’t really make it go away.

Horace is a big help with a lot of this stuff, especially once they start dating. Having a fashion designer boyfriend is fantastic when half your clothes are too form-fitting to wear outside, and it especially helps Enoch’s insecurities knowing that even being cisgender Horace is proudly more feminine than Enoch is. He may not fully understand, but he knows far more than most of the others do, and having someone to bat away the toxic masculinity and gender dysphoria and all the other stuff swirling around his head is very helpful. Plus he gets kisses out of it. So.

I still maintain if he has any pride flags they are exclusively in pin form because those can be used to chase and stab people with