#MelencoliaIbyAlbrechtDürer

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Albrecht Dürer and Hourglass

“The treasure secretly gathered in your heart will become evident through your creative work.”  ― Albrecht Durer Geometry is the foundation of all painting.”  ― Albrecht Durer

Albrecht Dürer and Hourglass

Qualia and Time Sense Qualia is sensitive experience Qualia and Time Perception

Qualia

Qualia are the subjective or qualitative properties of experiences Qualia is qualities of awareness

Philosophy of perception

The philosophy of perception is concerned with the nature of perceptual experience and the status of perceptual data, in particular how they relate to beliefs about, or knowledge of, the world.

Symbolism of Melencolia I by Albrecht Dürer

427-430 Melencolia I by Albrecht Dürer post stamps block https://www.myhourglasscollection.com/427-430-melencolia-i-by-albrecht-durer/ 1514 engraving by Albrecht Dürer The print’s central subject is an enigmatic and gloomy winged female figure thought to be a personification of melancholia. Holding her head in her hand, she stares past the busy scene in front of her. The area is strewn with symbols and tools associated with craft and carpentry, including an hourglass, weighing scales, a hand plane and a saw. https://www.myhourglasscollection.com/symbolism-of-melencolia-i-by-albrecht-durer/ More about Time Symbolism Sense data are the alleged mind-dependent objects that we are directly aware of in perception, and that have exactly the properties they appear to have. For instance, sense data theorists say that, upon viewing a tomato in normal conditions, one forms an image of the tomato in one’s mind. This image is red and round.

427-430 Melencolia I by Albrecht Dürer

See also:

Time symbolism, Time is…, The Full History of Time, Time in physics and time Science, Symbolism of Melencolia I by Albrecht Dürer, Time and Text, DADA Time, Text, Time, MHC, Extinction Rebellion – Time against Life, The End of Time, Hourglass and Death on St Thomas’ Church, Hourglass – symbol of Death, Death does not Exist, Hourglass and Skeleton, “Hourglass and Cards” Exhibition, Father and Mother of Time, Time Hub, Time Philosophy, Time synonyms, Qualia and Time Sense, Time perception and Sense of Time, The Hourglass of Emotions, Time Travel + Time Management = Time Travel Management, The Hourglass, Hourglass History, Hourglass symbolism, Hourglass Figure, Hourglass Tattoo, Symbols of Time, Beauty Bio-Net, Father Time Department, Father Time and Mother Nature, Lunar calendar and Moon’s phases, Time Management, Time Management tools MHC SM: MHC Flikr, MHC Pinterest, MHC Facebook, MHC Instagram, MHC YouTube, MHC Twitter 427 Melencolia I by Albrecht Dürer

Ritter, Tod und Teufel/Knight, Death and the Devil

Ritter, Tod und Teufel/Knight, Death and the Devil Knight, Death and the Devil (German: Ritter, Tod und Teufel) is a large 1513 engraving by the German artist Albrecht Dürer, one of the three Meisterstiche completed during a period when he almost ceased to work in paint or woodcuts to focus on engravings. The image is infused with complex iconography and symbolism, the precise meaning of which has been argued over for centuries. An armoured knight, accompanied by his dog, rides through a narrow gorge flanked by a goat-headed devil and the figure of death riding a pale horse. Death's rotting corpse holds an hourglass, a reminder of the shortness of life. The rider moves through the scene looking away from the creatures lurking around him, and appears almost contemptuous of the threats, and is thus often seen as symbol of courage; the knight's armor, the horse which towers in size over the beasts, the oak leaves and the fortress on the mountaintop are symbolic of the resilience of faith, while the knight's plight may represent Christians' earthly journey towards the Kingdom of Heaven. The work was mentioned by Giorgio Vasari as one of "several sheets of such excellence that nothing finer can be achieved". It was widely copied and had a large influence on later German writers. Philosopher Friedrich Nietzsche referenced the work in his work on dramatic theory The Birth of Tragedy (1872) to exemplify pessimism, while it was later idealised in the 20th century by the Nazis as representing the racially pure Aryan, and was sometimes used in their propaganda imagery. More on Wiki

Ritter, Tod und Teufel 10 things to know about Albrecht Dürer: Even as a 13-year-old, he was breaking new ground Dürer’s home city was one of the most important in Europe He is credited with bringing the Renaissance to Northern Europe He was a fine painter, and an even finer printmaker — perhaps the greatest there has ever been Between 1513 and 1514, he produced the three engravings known as his Master Prints He was the favourite artist of the Holy Roman Emperor His depiction of a rhinoceros is one of the most celebrated animals in art history He had one of the most famous signatures in art He was an author as well as an artist He was as feted in death as he was in life Details on Christies

Der heilige Hieronymus im Gehäus/Saint Jerome in His Study

Dürer «Saint Jérôme dans sa cellule» (1514)

Saint Jerome in His Study (German: Der heilige Hieronymus im Gehäus) is an engraving of 1514 by the German artist Albrecht Dürer. Saint Jerome is shown sitting behind his desk, engrossed in work. The table, on the corner of which is a cross, is typical of the Renaissance. An imaginary line from Jerome's head passing through the cross would arrive at the skull on the window ledge, as if contrasting death and the Resurrection. The lion in the foreground is part of the traditional iconography of St. Jerome, and near it is a sleeping dog, an animal found frequently in Dürer's works, symbolizing loyalty. Both creatures are part of Jerome's story in the Golden Legend (c. 1260), which contained fanciful hagiographies of saints. St. Jerome in His Study is often considered as part of a group of three Dürer engravings (his Meisterstiche), the other two being the well-known Melencolia I (1514) and Knight, Death and the Devil (1513). Together they have been viewed as representing the three spheres of activity recognized in medieval times: Knight, Death, and the Devil belongs to the moral sphere and the "active life"; Melencolia I represents the intellectual; and St. Jerome the theological and contemplative life. The composition is intimate, but the viewer has difficulty locating himself in relation to the picture's space. Thomas Puttfarken suggests that while the scene is very close to the observer, Dürer did not intend the viewer to feel present: "the intimacy is not ours, but the saint's as he is engrossed in study and meditation". Art historian Erwin Panofsky comments on the perspective: The position of the sight point, quite far off centre, strengthens the impression of a representation determined not by the objective law of the architecture but by the subjective standpoint of the spectator who is just entering – a representation which owes to precisely this perspective arrangement a large part of its peculiarly 'intimate' effect. More on Wiki DÜRER Saint Jérôme dans sa cellule lion chien tête de mort crâne sablier manuscrit encrier lustre Albrecht Dürer and Hourglass See also:

Symbolism of Melencolia I by Albrecht Dürer

427-430 Melencolia I by Albrecht Dürer post stamps block Read the full article

[biointernet]

Symbolism of Melencolia I by Albrecht Dürer

The lie is in our understanding, and darkness is so firmly entrenched in our mind that even our groping will fail. Albrecht Dürer As I grew older, I realized that it was much better to insist on the genuine forms of nature, for simplicity is the greatest adornment of art. Albrecht Dürer Symbolism of Melencolia I by Albrecht Dürer 1514 engraving by Albrecht Dürer The print's central subject is an enigmatic and gloomy winged female figure thought to be a personification of melancholia. Holding her head in her hand, she stares past the busy scene in front of her. The area is strewn with symbols and tools associated with craft and carpentry, including an hourglass, weighing scales, a hand plane and a saw. More about Time Symbolism Symbolism of Melencolia I by Albrecht Dürer Other objects relate to alchemy, geometry or numerology. Behind the figure is a structure with an embedded magic square, and a ladder leading beyond the frame. The sky contains a rainbow, a comet or planet, and a bat-like creature bearing the text that has become the print's title.

Symbolism of Melencolia I by Albrecht Dürer Decoding art: Dürer's Melencolia I This famous image is packed with meaning. Find out what each of these objects symbolizes, and how they relate to the overall theme of melancholy. Special thanks to the Minneapolis Institute of Art Albrecht Dürer, Melencolia I, 1514, engraving (Minneapolis Institute of Art) Figure of Melancholy: “Melancholic” is one of the four humors (see Father of Time). It was the least desirable humor because it was responsible for depression, apathy, and even insanity. The advantage of being melancholic, however, was that this humor tended to be associated with the most creative and intelligent individuals. It was believed that carpenters, mathematicians, artists, and grammarians all tended to be melancholic.

Symbolism of Melencolia I by Albrecht Dürer Hammer: Carpenter. Compass: Mathematician. Putto with notebook: Grammarian. Keys: Power. Purse: Wealth. Bell: Eternity Bat: Darkness. Boiled bats were recommended by the ancients as a remedy for melancholy Wreath: Made from a plant which was believed to be a cure for excessive melancholy Comet: Sign of Saturn, the god affiliated with melancholy Magic square: Orderliness of numbers, each line (horizontal, vertical, diagonal) adds up to 34. Thought to be a talisman to attract Jupiter (The god who could heal the effects of Saturn) 1514: The year of the death of Dürer’s mother. Also the date of this print

Symbolism of Melencolia I by Albrecht Dürer SYMBOLIC SPACE In many of his works Dürer strove to create the illusion of three-dimensional space, choosing different compositional devices for a variety of narrative goals. This interest in carving out perspectival space is manifested in his 1511 series The Life of the Virgin and other woodcuts made during the same period. These works chronicle the life of Mary, from the courtship of her parents to her assumption into heaven. The narratives unfold in architectural and landscape settings, which serve to frame the action and heighten its subdued drama. The interplay between outside and inside, inclusion and exclusion, and heaven and earth are key to understanding the events that unfold within these invented spaces. Unlike the highly emotive and chaotic compositions of the Apocalypse woodcuts, these are calm, contemplative, earthbound, and uniformly static.

Time Symbolism https://www.clarkart.edu/exhibitions/durer/content/symbolic-space.cfm https://en.wikipedia.org/wiki/Melencolia_I Time symbolism Symbolism of Melencolia I by Albrecht Dürer

Bunter Graphik Almanach 2 Symbolism of Melencolia I by Albrecht Dürer

Symbolism of Melencolia I by Albrecht Dürer Symbolism of Melencolia I by Albrecht Dürer

Die Symbolik in Durers "Melancholie" Die Symbolik in Durers "Melancholie" National Gallery of Art: One of Dürer’s three “master engravings,” Melencolia I has been linked by scholars to alchemy, astrology, theology, and philosophy, among other themes. Perhaps the most prevalent analysis suggests the engraving represents the melancholy of the creative artist, and that it is a spiritual self-portrait of Dürer himself. From ancient Greek times through the Middle Ages, melancholy was considered the least desirable of the four humors that were believed to govern human temperament. Alleged to suffer from an excess of black bile, melancholics were thought to be especially prone to insanity. Renaissance thought, however, revamped the status of the dreaded humor by connecting it to creative genius as well as madness. https://www.nga.gov/collection/highlights/durer-melencolia.html MHC Research Read the full article

[biointernet]

Albrecht Dürer and Hourglass

“The treasure secretly gathered in your heart will become evident through your creative work.”  ― Albrecht Durer Geometry is the foundation of all painting.”  ― Albrecht Durer

Albrecht Dürer and Hourglass

Qualia and Time Sense Qualia is sensitive experience Qualia and Time Perception

Qualia

Qualia are the subjective or qualitative properties of experiences Qualia is qualities of awareness

Philosophy of perception

The philosophy of perception is concerned with the nature of perceptual experience and the status of perceptual data, in particular how they relate to beliefs about, or knowledge of, the world.

Symbolism of Melencolia I by Albrecht Dürer

427-430 Melencolia I by Albrecht Dürer post stamps block https://www.myhourglasscollection.com/427-430-melencolia-i-by-albrecht-durer/ 1514 engraving by Albrecht Dürer The print’s central subject is an enigmatic and gloomy winged female figure thought to be a personification of melancholia. Holding her head in her hand, she stares past the busy scene in front of her. The area is strewn with symbols and tools associated with craft and carpentry, including an hourglass, weighing scales, a hand plane and a saw. https://www.myhourglasscollection.com/symbolism-of-melencolia-i-by-albrecht-durer/ More about Time Symbolism Sense data are the alleged mind-dependent objects that we are directly aware of in perception, and that have exactly the properties they appear to have. For instance, sense data theorists say that, upon viewing a tomato in normal conditions, one forms an image of the tomato in one’s mind. This image is red and round.

427-430 Melencolia I by Albrecht Dürer

See also:

Time symbolism, Time is…, The Full History of Time, Time in physics and time Science, Symbolism of Melencolia I by Albrecht Dürer, Time and Text, DADA Time, Text, Time, MHC, Extinction Rebellion – Time against Life, The End of Time, Hourglass and Death on St Thomas’ Church, Hourglass – symbol of Death, Death does not Exist, Hourglass and Skeleton, “Hourglass and Cards” Exhibition, Father and Mother of Time, Time Hub, Time Philosophy, Time synonyms, Qualia and Time Sense, Time perception and Sense of Time, The Hourglass of Emotions, Time Travel + Time Management = Time Travel Management, The Hourglass, Hourglass History, Hourglass symbolism, Hourglass Figure, Hourglass Tattoo, Symbols of Time, Beauty Bio-Net, Father Time Department, Father Time and Mother Nature, Lunar calendar and Moon’s phases, Time Management, Time Management tools MHC SM: MHC Flikr, MHC Pinterest, MHC Facebook, MHC Instagram, MHC YouTube, MHC Twitter 427 Melencolia I by Albrecht Dürer

Ritter, Tod und Teufel/Knight, Death and the Devil

Ritter, Tod und Teufel/Knight, Death and the Devil Knight, Death and the Devil (German: Ritter, Tod und Teufel) is a large 1513 engraving by the German artist Albrecht Dürer, one of the three Meisterstiche completed during a period when he almost ceased to work in paint or woodcuts to focus on engravings. The image is infused with complex iconography and symbolism, the precise meaning of which has been argued over for centuries. An armoured knight, accompanied by his dog, rides through a narrow gorge flanked by a goat-headed devil and the figure of death riding a pale horse. Death's rotting corpse holds an hourglass, a reminder of the shortness of life. The rider moves through the scene looking away from the creatures lurking around him, and appears almost contemptuous of the threats, and is thus often seen as symbol of courage; the knight's armor, the horse which towers in size over the beasts, the oak leaves and the fortress on the mountaintop are symbolic of the resilience of faith, while the knight's plight may represent Christians' earthly journey towards the Kingdom of Heaven. The work was mentioned by Giorgio Vasari as one of "several sheets of such excellence that nothing finer can be achieved". It was widely copied and had a large influence on later German writers. Philosopher Friedrich Nietzsche referenced the work in his work on dramatic theory The Birth of Tragedy (1872) to exemplify pessimism, while it was later idealised in the 20th century by the Nazis as representing the racially pure Aryan, and was sometimes used in their propaganda imagery. More on Wiki

Ritter, Tod und Teufel 10 things to know about Albrecht Dürer: Even as a 13-year-old, he was breaking new ground Dürer’s home city was one of the most important in Europe He is credited with bringing the Renaissance to Northern Europe He was a fine painter, and an even finer printmaker — perhaps the greatest there has ever been Between 1513 and 1514, he produced the three engravings known as his Master Prints He was the favourite artist of the Holy Roman Emperor His depiction of a rhinoceros is one of the most celebrated animals in art history He had one of the most famous signatures in art He was an author as well as an artist He was as feted in death as he was in life Details on Christies

Der heilige Hieronymus im Gehäus/Saint Jerome in His Study

Dürer «Saint Jérôme dans sa cellule» (1514)

Saint Jerome in His Study (German: Der heilige Hieronymus im Gehäus) is an engraving of 1514 by the German artist Albrecht Dürer. Saint Jerome is shown sitting behind his desk, engrossed in work. The table, on the corner of which is a cross, is typical of the Renaissance. An imaginary line from Jerome's head passing through the cross would arrive at the skull on the window ledge, as if contrasting death and the Resurrection. The lion in the foreground is part of the traditional iconography of St. Jerome, and near it is a sleeping dog, an animal found frequently in Dürer's works, symbolizing loyalty. Both creatures are part of Jerome's story in the Golden Legend (c. 1260), which contained fanciful hagiographies of saints. St. Jerome in His Study is often considered as part of a group of three Dürer engravings (his Meisterstiche), the other two being the well-known Melencolia I (1514) and Knight, Death and the Devil (1513). Together they have been viewed as representing the three spheres of activity recognized in medieval times: Knight, Death, and the Devil belongs to the moral sphere and the "active life"; Melencolia I represents the intellectual; and St. Jerome the theological and contemplative life. The composition is intimate, but the viewer has difficulty locating himself in relation to the picture's space. Thomas Puttfarken suggests that while the scene is very close to the observer, Dürer did not intend the viewer to feel present: "the intimacy is not ours, but the saint's as he is engrossed in study and meditation". Art historian Erwin Panofsky comments on the perspective: The position of the sight point, quite far off centre, strengthens the impression of a representation determined not by the objective law of the architecture but by the subjective standpoint of the spectator who is just entering – a representation which owes to precisely this perspective arrangement a large part of its peculiarly 'intimate' effect. More on Wiki DÜRER Saint Jérôme dans sa cellule lion chien tête de mort crâne sablier manuscrit encrier lustre Albrecht Dürer and Hourglass See also:

Symbolism of Melencolia I by Albrecht Dürer

427-430 Melencolia I by Albrecht Dürer post stamps block Read the full article

[biointernet]

Albrecht Dürer and Hourglass

“The treasure secretly gathered in your heart will become evident through your creative work.”  ― Albrecht Durer Geometry is the foundation of all painting.”  ― Albrecht Durer

Albrecht Dürer and Hourglass

Qualia and Time Sense Qualia is sensitive experience Qualia and Time Perception

Qualia

Qualia are the subjective or qualitative properties of experiences Qualia is qualities of awareness

Philosophy of perception

The philosophy of perception is concerned with the nature of perceptual experience and the status of perceptual data, in particular how they relate to beliefs about, or knowledge of, the world.

Symbolism of Melencolia I by Albrecht Dürer

427-430 Melencolia I by Albrecht Dürer post stamps block https://www.myhourglasscollection.com/427-430-melencolia-i-by-albrecht-durer/ 1514 engraving by Albrecht Dürer The print’s central subject is an enigmatic and gloomy winged female figure thought to be a personification of melancholia. Holding her head in her hand, she stares past the busy scene in front of her. The area is strewn with symbols and tools associated with craft and carpentry, including an hourglass, weighing scales, a hand plane and a saw. https://www.myhourglasscollection.com/symbolism-of-melencolia-i-by-albrecht-durer/ More about Time Symbolism Sense data are the alleged mind-dependent objects that we are directly aware of in perception, and that have exactly the properties they appear to have. For instance, sense data theorists say that, upon viewing a tomato in normal conditions, one forms an image of the tomato in one’s mind. This image is red and round.

427-430 Melencolia I by Albrecht Dürer

See also:

Time symbolism, Time is…, The Full History of Time, Time in physics and time Science, Symbolism of Melencolia I by Albrecht Dürer, Time and Text, DADA Time, Text, Time, MHC, Extinction Rebellion – Time against Life, The End of Time, Hourglass and Death on St Thomas’ Church, Hourglass – symbol of Death, Death does not Exist, Hourglass and Skeleton, “Hourglass and Cards” Exhibition, Father and Mother of Time, Time Hub, Time Philosophy, Time synonyms, Qualia and Time Sense, Time perception and Sense of Time, The Hourglass of Emotions, Time Travel + Time Management = Time Travel Management, The Hourglass, Hourglass History, Hourglass symbolism, Hourglass Figure, Hourglass Tattoo, Symbols of Time, Beauty Bio-Net, Father Time Department, Father Time and Mother Nature, Lunar calendar and Moon’s phases, Time Management, Time Management tools MHC SM: MHC Flikr, MHC Pinterest, MHC Facebook, MHC Instagram, MHC YouTube, MHC Twitter 427 Melencolia I by Albrecht Dürer

Ritter, Tod und Teufel/Knight, Death and the Devil

Ritter, Tod und Teufel/Knight, Death and the Devil Knight, Death and the Devil (German: Ritter, Tod und Teufel) is a large 1513 engraving by the German artist Albrecht Dürer, one of the three Meisterstiche completed during a period when he almost ceased to work in paint or woodcuts to focus on engravings. The image is infused with complex iconography and symbolism, the precise meaning of which has been argued over for centuries. An armoured knight, accompanied by his dog, rides through a narrow gorge flanked by a goat-headed devil and the figure of death riding a pale horse. Death's rotting corpse holds an hourglass, a reminder of the shortness of life. The rider moves through the scene looking away from the creatures lurking around him, and appears almost contemptuous of the threats, and is thus often seen as symbol of courage; the knight's armor, the horse which towers in size over the beasts, the oak leaves and the fortress on the mountaintop are symbolic of the resilience of faith, while the knight's plight may represent Christians' earthly journey towards the Kingdom of Heaven. The work was mentioned by Giorgio Vasari as one of "several sheets of such excellence that nothing finer can be achieved". It was widely copied and had a large influence on later German writers. Philosopher Friedrich Nietzsche referenced the work in his work on dramatic theory The Birth of Tragedy (1872) to exemplify pessimism, while it was later idealised in the 20th century by the Nazis as representing the racially pure Aryan, and was sometimes used in their propaganda imagery. More on Wiki

Ritter, Tod und Teufel

Der heilige Hieronymus im Gehäus/Saint Jerome in His Study

Dürer «Saint Jérôme dans sa cellule» (1514)

Saint Jerome in His Study (German: Der heilige Hieronymus im Gehäus) is an engraving of 1514 by the German artist Albrecht Dürer. Saint Jerome is shown sitting behind his desk, engrossed in work. The table, on the corner of which is a cross, is typical of the Renaissance. An imaginary line from Jerome's head passing through the cross would arrive at the skull on the window ledge, as if contrasting death and the Resurrection. The lion in the foreground is part of the traditional iconography of St. Jerome, and near it is a sleeping dog, an animal found frequently in Dürer's works, symbolizing loyalty. Both creatures are part of Jerome's story in the Golden Legend (c. 1260), which contained fanciful hagiographies of saints. St. Jerome in His Study is often considered as part of a group of three Dürer engravings (his Meisterstiche), the other two being the well-known Melencolia I (1514) and Knight, Death and the Devil (1513). Together they have been viewed as representing the three spheres of activity recognized in medieval times: Knight, Death, and the Devil belongs to the moral sphere and the "active life"; Melencolia I represents the intellectual; and St. Jerome the theological and contemplative life. The composition is intimate, but the viewer has difficulty locating himself in relation to the picture's space. Thomas Puttfarken suggests that while the scene is very close to the observer, Dürer did not intend the viewer to feel present: "the intimacy is not ours, but the saint's as he is engrossed in study and meditation". Art historian Erwin Panofsky comments on the perspective: The position of the sight point, quite far off centre, strengthens the impression of a representation determined not by the objective law of the architecture but by the subjective standpoint of the spectator who is just entering – a representation which owes to precisely this perspective arrangement a large part of its peculiarly 'intimate' effect. More on Wiki DÜRER Saint Jérôme dans sa cellule lion chien tête de mort crâne sablier manuscrit encrier lustre Albrecht Dürer and Hourglass See also:

Symbolism of Melencolia I by Albrecht Dürer

427-430 Melencolia I by Albrecht Dürer post stamps block Read the full article

[biointernet]

427-430 Melencolia I by Albrecht Dürer

I think computer viruses should count as life ... I think it says something about human nature that the only form of life we have created so far is purely destructive. We've created life in our own image. STEPHEN HAWKING, The Daily News

427-430 Melencolia I by Albrecht Dürer post stamps block

Durer - Sand Clock on "Melancholia" See more: Symbolism of Melencolia I by Albrecht Dürer 1514 engraving by Albrecht Dürer The print’s central subject is an enigmatic and gloomy winged female figure thought to be a personification of melancholia. Holding her head in her hand, she stares past the busy scene in front of her. The area is strewn with symbols and tools associated with craft and carpentry, including an hourglass, weighing scales, a hand plane and a saw. More about Time Symbolism

427-430 Melencolia I by Albrecht Dürer https://www.myhourglasscollection.com/symbolism-of-melencolia-i-by-albrecht-durer/

See also:

Time symbolism, Time is…, The Full History of Time, Time in physics and time Science, Symbolism of Melencolia I by Albrecht Dürer, Time and Text, DADA Time, Text, Time, MHC, Extinction Rebellion – Time against Life, The End of Time, Hourglass and Death on St Thomas’ Church, Hourglass – symbol of Death, Death does not Exist, Hourglass and Skeleton, “Hourglass and Cards” Exhibition, Father and Mother of Time, Time Hub, Time Philosophy, Time synonyms, Qualia and Time Sense, Time perception and Sense of Time, The Hourglass of Emotions, Time Travel + Time Management = Time Travel Management, The Hourglass, Hourglass History, Hourglass symbolism, Hourglass Figure, Hourglass Tattoo, Symbols of Time, Beauty Bio-Net, Father Time Department, Father Time and Mother Nature, Lunar calendar and Moon’s phases, Time Management, Time Management tools MHC SM: MHC Flikr, MHC Pinterest, MHC Facebook, MHC Instagram, MHC YouTube, MHC Twitter 427 Melencolia I by Albrecht Dürer Read the full article