#castor Gallery

[dirtytimeslut]

Grace Woodcock, Regrounding 23.5°, 2023.

Textile, primer, oil paint, wood and aluminium,

40 x 88 x 66cm.

[hatsuyoshi6u9]

I’ve been watching some of the works Michael Sheen has done, and when I came across Castor/Zeus from “Tron” I was like “oh my gosh he would’ve been a wonderful Joker or a Riddler!”

Which maybe right now wouldn’t really work anymore with DC’s current projects, but what if instead of the riddler or joker he could still be maybe The Mad Hatter?? I think he would do great as Jervis Tetch! (For example the way he calls for Alice in twilight or the way he can control his voice to be relaxing yet make you feel like something’s going to happen)

But yeah I just wanted to share this thought of mine, I’d love to hear what y’all think 👌✨

[agence-photo-imatext]

Braine-l'Alleud. Basket. Coupe de Belgique. Castors Braine - Malines

[dfsdgaefh]

Anon from before,,,,, please drop your osasuna fic recs,,,,,,,,,please,,,,,,,,

i was typing out extra notes before realizing my extra notes across the board were like WOW!!! I LOVE THIS AUTHOR!!!! CHECK OUT THEIR ENTIRE CATALOGUE. these are miscellaneously rated, across various tropes, blend of top/bottom dynamic if u care about that. and um. this is just a quick scroll of my bookmarks. if you want more i can provide more.

https://archiveofourown.org/works/31932244 washing gold (dagmalafjall) domestic, sweet, they do laundry

https://archiveofourown.org/works/28249770 in this moment (bonyelbows) short, domestic snapshot fic https://archiveofourown.org/works/26781361 The Loss We Learned (DeathBelle), this fic singlehandedly converted me to lovers to exes to lovers trope and possibly sunaosa, based on when i bookmarked it. https://archiveofourown.org/works/29200857 askew (lovebot) fwb with feelings ,:3

https://archiveofourown.org/works/26856958 cheesecake (bastigod) really nice getting together fic + i recommend the sequel fic in this series as well (honestly as well as the author's entire gallery)

https://archiveofourown.org/series/1514411 Heart Reign - series (tookumade) chronicle of works that span their relationship through the years, beautiful set of works

https://archiveofourown.org/works/56338738 waiting on you (sunapriv) sub top osamu. this hole was made for me.

https://archiveofourown.org/works/28249770 wait (I'm on my way) (viverella) the hair dye fic :holding back tears emoji: https://archiveofourown.org/works/31438781 a call for me to come home (vivirella) sort of exes relationship study

https://archiveofourown.org/works/32578174 imposter syndrome (sorry this is the third viverella) what if we pretended to be together to save on university-issue housing costs..................

https://archiveofourown.org/works/53182114 learning to warm cold hands (getoufication) another lovers to exes to lovers, left me gobsmacked tbh

https://archiveofourown.org/works/32820229 no strings attached (sketchedsmiles) pining after your fwb :D https://archiveofourown.org/works/24182731 somewhere to belong (kitouma) blended mythology au, the miyas are castor and pollux and suna is a boatman

[fashionsfromhistory]

Side Chair from the Worsham-Rockefeller Dressing Room

1881-1882

George A. Schastey & Co.

In 1881, Arabella Worsham, then-mistress of railroad magnate Collis P. Huntington, hired George A. Schastey & Co. to decorate her townhouse at 4 West Fifty-Fourth Street in New York City. The resulting artistic interiors would have been considered the height of cosmopolitan style in the early 1880s and were emblematic of Worsham’s quest to fashion her identity as a wealthy, prominent woman of taste. When Worsham married Huntington in 1884, she sold the house, fully furnished, to John D. and Laura Spelman Rockefeller, who made few subsequent changes to the decorations. Following Mr. Rockefeller’s death, the house was demolished in 1938, yet some furnishings, large-scale architectural elements, and three interiors were preserved, and the rooms were donated to local museums by John D. Rockefeller Jr.

This side chair of satinwood and purpleheart, one of a pair, is part of the suite (2009.226.1–.4) that furnished Worsham’s elaborately decorated dressing room, one of the preserved interiors now installed in The American Wing (Gallery 742). These objects were part of a decorative program that encompassed every aspect of the room, including the architectural woodwork, lighting, stenciled wall-treatment, painted ceiling and frieze, textiles, and other furnishings. On the chair’s back, the marquetry decoration of grotesque masks and vines echoes the ornamental motifs in the dressing room’s architectural woodwork. The overall form is light and rectilinear. The tapered front legs with cascading bellflowers channel the spirit of English Neoclassical designers such as Robert Adam and George Hepplewhite. It rests on castors, allowing it to be moved easily within the room.

Although few objects can be attributed to George A. Schastey & Co., the high quality of their work – as seen in this fine example – was comparable to other prominent firms of the Gilded Age, including Herter Brothers and Pottier & Stymus. At its peak in the early 1880s, the firm employed at least 125 people in its workshops. Their distinctive designs are steeped in Renaissance sources with flourishes from the Islamic world and the British design reform movement.

The MET (Accession Number: 2009.226.3)

[thisispaper]

23.5° by Grace Woodcock at Castor Gallery https://thisispaper.com/mag/23-5-grace-woodcock-castor

[thelostrainbowthenovel]

🌠 Winx Club AU: Castor, Wizard of Shining Stars 🌠

================================================

Next up for the wizards, and the last of the Arianian wizards, we have Castor. Like Archer, he was always a wizard. His was probably my favorite as I could go ham on the star motifs with his look. I usually only try to find six images for these boards since that's all my phone's gallery accepts for collages(while I explain any missing pieces in the description), but I couldn't resist adding in both the earrings and the bracelet-glove as I really liked and wanted to include both. I hope you enjoy!

Some extra notes about his wizard form:

His shirt would be pretty much the same, but just in a slightly darker color and more/bigger sparkles. His pants would be black, and have silver crystal stars and sparkles going down the sides of them. His boots would be a slightly darker color than his shirt, but still generally a black color. His bracelet-gloves would be silver in color, while his necklaces would be gold to match his gold earrings.

His hair is placed in a high braid, tied with a glittering black hair-tie. His makeup consists of simple black, but sparkly eyeliner with silver gems on the sides, and navy blue, sparkling nails.

[inspofromancientworld]

Lays of Ancient Rome and its Ancient Origins

By Photograph by MichaelMaggs; original artist unknown. - Own photo of original book cover, Public Domain, https://commons.wikimedia.org/w/index.php?curid=2198606

Thomas Babington Macaulay (1800-1859) 1st Baron Macaulay was a British poet and historian who also served as the Secretary at War and Paymaster General. He was born in Scotland, England, India, then returned to Scotland at the end of his life via Rome.He started the Lays of Ancient Rome, a collection of poems that he started while in India and continued as he went through Rome before publishing them in 1842. He wrote an introduction to each Lay, identifying the myths, legends, and history that he addresses in the poem.

By John Reinhard Weguelin - Scan of Illustration from book "The Lays of Ancient Rome", Public Domain, https://commons.wikimedia.org/w/index.php?curid=2711627

The first Lay, Horatius, talks about how Publius Horatius Cocles, Spurius Larcius, and Titus Herminius held the Sublican bridge, which crossed the Tiber at Rome, against Lars Porsena, the King of Clusium, a Etruscan city, who were at war with the Romans. The bridge was the only crossing the Tiber into Rome and Rome itself was poorly defended.

By John Reinhard Weguelin - Scan of Illustration from book "The Lays of Ancient Rome", Public Domain, https://commons.wikimedia.org/w/index.php?curid=2711862

The second Lay, The Battle of Lake Regillus, is about the titular battle which takes place after the retreat of King Lars, when Rome was under threat of the Latin League, a confederation of villages around the Latium area near Rome and led by Lucius Tarquinius Supberbus, the deposed king of Rome, and his son and son-in-law. It imitates Homer's style from the Iliad as it describes battles, which only is ended by the descent of Castor and Pollux, the twin gods of sailors and horsemanship, who were later set up as Gemini in the night sky.

By Giovanni Folo after Vincenzo Camuccini - Department of Image Collections, National Gallery of Art Library, Washington, DC•Catalog: https://library.nga.gov/permalink/01NGA_INST/1p5jkvq/alma991742963804896, Public Domain, https://commons.wikimedia.org/w/index.php?curid=108018319

The third lay, Virginia, tells the story of Virginius' only daughter, Virginia. He was a poor farmer and Appius Claudius, a member of Rome's upper class (the patrician class) and member of the ruling body, the decemvirs, who lusted after Virginia, who is portrayed as 'beautiful and virtuous'. He claims she is a run away slave, knowing the judge is in his purse (pockets weren't quite a thing yet as they appeared in approximately the 13th century). Her father is determined to save her by any means, even death. The result is a change to laws.

The next is the Prophecy of Capys, which tells the story of Romulus and Remus returning to their grandfather, Capys. Capys is a blind man who then has a prophetic vision of Romulus' descendants victories in the Pyrrhic and Punic wars, making them great.

You can read the Lays here.

[artandthebible]

The Prophet Elijah and the Widow of Zarephath

Artist: Cornelis van Poelenburch (Dutch, (1594-1667)

Genre: Religious Art

Date: c. 1630

Medium: Oil on Panel

Collection: National Gallery of Art, Washington, DC

Description

Cornelis van Poelenburch was an important representative of the first generation of Dutch artists who drew inspiration from the landscape and culture of Italy. He is celebrated for his small-scale paintings of arcadian, biblical, or mythological subjects that featured figures in an Italianate landscape, often with Roman ruins. This work was painted in Utrecht, after the artist had spent nearly a decade in Italy, and although the landscape setting here is imaginary, the ruin on the left is based on the Temple of Castor and Pollux in the Roman Forum, built in 495 BC.

The Prophet Elijah and the Widow of Zarephath illustrates the biblical story of the encounter between prophet Elijah and a widow and her son gathering sticks when he arrives at the town of Zarephath. Elijah asks her for a piece of bread, and the destitute widow invites him to her home where she uses her last bit of flour and oil to bake for him. The prophet then blesses the woman and her child, and assures them that their supplies of flour and oil will never be diminished. Shortly thereafter the son dies, but because of Elijah’s fervent prayers, God returned the boy to life.

1 Kings 17:8-16 (NIV)

Then the word of the LORD came to him: “Go at once to Zarephath in the region of Sidon and stay there. I have directed a widow there to supply you with food.” So he went to Zarephath. When he came to the town gate, a widow was there gathering sticks. He called to her and asked, “Would you bring me a little water in a jar so I may have a drink?” As she was going to get it, he called, “And bring me, please, a piece of bread.” “As surely as the LORD your God lives,” she replied, “I don’t have any bread—only a handful of flour in a jar and a little olive oil in a jug. I am gathering a few sticks to take home and make a meal for myself and my son, that we may eat it—and die.” Elijah said to her, “Don’t be afraid. Go home and do as you have said. But first make a small loaf of bread for me from what you have and bring it to me, and then make something for yourself and your son. For this is what the LORD, the God of Israel, says: ‘The jar of flour will not be used up and the jug of oil will not run dry until the day the LORD sends rain on the land.’ ” She went away and did as Elijah had told her. So there was food every day for Elijah and for the woman and her family. For the jar of flour was not used up and the jug of oil did not run dry, in keeping with the word of the LORD spoken by Elijah.

[liebgotts-lovergirl]

Fire On Fire: Chapter 26 Part 1

(Ch. 25) ... (Ch. 1)

II Gallery II Symbol Guide II

Summary: Just a girl stretching her wings.

WARNINGS: The usual espionage stuff, Lewis Nixon's functional alcoholism lol

A/N: Sorry y'all, Ik it's been a hot minute!! I've been Going Thru It™ again lol, as one does, but I'm back again momentarily! We'll see how long this lasts

Taglist: @latibvles @softguarnere @brassknucklespeirs @mccall-muffin @lieutenant-speirs @emmythespacecowgirl @holdingforgeneralhugs @parajumpboots @hxad-ovxr-hxart @sleepisforcowards @indigo-luvers @ax-elcfucker-blog @chaosklutz @mads-weasley @vibing-away @eightysix-baby @ithinkabouttzu

Contemporary: December 1st, 1944. Resistance Safehouse, Signy-l’Abbaye, France.

Alix was always uneasy when it stormed but especially at night.

The downpour battering the rooftop overhead, the howling wind and deafening thunder, the pattering droplets pelting the tree leaves outside in the darkness, all of it was to the enemy's advantage. 

It could mask the sound of approaching footsteps, swallow the screams of any victim, even disguise gunshots.

If an attack was coming, it was bound to come during a storm.

So naturally, when she thought she heard a rattling coming from the back door, Alix stopped her pacing and dropped into a crouch, her usual dagger in one hand and a throwing knife in the other as she crept behind a small, sturdy end table and waited.

The moment the door creaked open, the spy sprung from her hiding place as her training kicked in. Forcing the intruder to the nearest wall, a knife pressed against his throat before he could blink, Alix was about to remove his hood with her other hand just as he spoke with a voice still somehow as languid and droll as a Sunday morning:

"Oh good, you're still sharp."

The OSS assassin instantly took a step back and sheathed her knife.

"Goddammit, Nix," she groaned, releasing a breath she hadn't even known she'd been holding.

"You scared me half to death. How’s Joe doing?” 

“Well hello to you too,” her case officer deadpanned as he tossed back his hood and began to unbutton his coat, clearly somewhat miffed.

"Don't worry, I'm fine, you only almost skewered me is all." 

“Yeah, sorry about that," Alix commented over her shoulder as she checked the door lock. "Anyway, how are my boys? How's Joe and Skip and-"

But turning around, she was in an empty room again. With a roll of her eyes, the spy weaved her way back from the hall and into the living room where Captain Nixon was making himself comfortable--albeit dramatically-- in his usual armchair, a thick folder in his hands. 

"So, what's the dope?" Alix piped up brightly and her handler barked out a laugh. 

"Well Liebgott seems to've designated himself protector of the pack, by the look of things. Wherever they go, he goes too. I don’t know if you asked him to do that or…?” 

“I didn’t,” Alix replied as she struggled to wrap her head around why Joe would even bother. 

“Well regardless, I come bearing gifts," he announced, leaning forward to plop the folder onto the coffee table, sending a cloud of dust billowing towards the ceiling. 

“If that's another after-action report, vaffanculo," Alix remarked, taking a seat on the sofa across from him.

"I've already typed up at least ten of them for you today, Nix, and my hands are cramping. You want it done, do it yourself." 

"Oh c’mon, relax," Nixon scoffed, taking a swig from his flask and lowering his voice to an exaggerated stage-whisper dripping with sarcasm. 

“What is it, Runt, ‘that time of the month’ or something?”

 

“Just finished actually, not that you care,” Alix bit back and her handler visibly recoiled. 

“Didn’t need to know that,” the thirty-something replied, making a face reminiscent of Gio's when the family doctor had given him castor oil for his stomach troubles.

He'd looked about as green in the gills as the Captain did now and Alix rolled her eyes with a snicker.

Men could be so juvenile. 

“Then don’t ask, Nix."

“Well it’s not another AAR, alright,” Nixon said airily with a lazy, one-handed mock-bow.

“So you’re welcome.” 

“I don’t recall ever receiving a Thank-You for typing all your shit in the first place," Alix pointed out, stretching her legs lazily as she lounged on the couch. 

“Well–" 

He took another long gulp of his whiskey before continuing,

"You see, Runt, the great thing about being an authority figure is--"

"Yeah, yeah, get your kicks," the spy remarked with a roll of her eyes before cutting straight to the point, leaning forward in her cushioned seat so she could better scrutinize her handler.

"So level with me, Nix: Why're you here? You wouldn't be bringing me a folder that big for no reason and if it's not AAR's...?" 

Alix trailed off, some of her long raven tresses escaping from her ponytail as she shook her head.

Gesturing with his flask and sending small droplets of whiskey sloshing onto the moth-eaten throw rug, Captain Nixon motioned wordlessly for her to open the folder.

Obliging, Alix neatly lifted the folder's cover and was momentarily stunned. 

Inside was a mountain of paperwork, topped by a red passport with Cyrillic lettering embossed on the front of it, a permanent propiska or residency permit from Moscow as well as additional travel papers. 

"So," Nixon asked, barely containing a satisfied chuckle like a proud parent watching their child open Christmas presents.

"How's your Russian sounding, Runt?" 

"Probably better than yours," Alix quipped easily as she lit up a cigarette, still waiting for Nixon to elaborate. 

Her case officer cracked a grin at her joke. 

“Good because you’re going to need it. You've got an assignment."

"In Russia?" Alix was aghast and instantly dropped the folder back onto the coffee table as though it was a hot coal but Nixon barked out another laugh. 

"Not unless you have a death wish."

With that, he took another swig of his whiskey before continuing amiably, 

"No, your newest assignment is going to be much closer to home. How does Paris sound?" 

"Paris?! That's swell!" Alix whooped, swinging her legs off the shoddy sofa and sending her book clattering to the floor in her elation.

"Thought you might like that," Nixon chuckled. "You've read up on Major Kieffer, right?" 

Alix cocked an eyebrow. 

"You mean Hans Josef Kieffer? The head of the Parisian Sicher…Sicher…"

"Sicherheitsdienst," Nixon added helpfully. 

Alix took a grateful stab in the air with her cigarette and replied, "Yeah exactly, that.”

"Looks like somebody read the notes after all," her case officer snarked and the spy rolled her eyes bemusedly. 

"Oh don't act so shocked," she scolded with an expression of mock-reproach. 

"I do pay attention when I type, you know." 

"Could've fooled me" was the sardonic reply and Alix hurled one of the deflated-looking throw pillows at his head, which the older intelligence officer batted away with his free hand. 

Alix took a drag of her cigarette, speaking on the exhale and letting the smoke dissipate with her words. 

"So you going to fill me in on the op, Nix, or do I have to do everything myself?" 

Now it was Nixon's turn to roll his eyes. 

"You can read, can't you?" he remarked dryly but Alix crossed her arms doggedly. 

"You know as well as I do that nothing important goes on paper, Nix." 

"You got that from me, you little shit," he grumbled, taking a final drink before screwing the cap of his flask shut with a slight rattle, muttering something about using his own words against him.

Once the dark-haired man had retrieved a handful of caramels from his rations to snack on, the time had finally come to divulge much-needed information.

"Alright, so here’s the dope," he began, popping a candy in his mouth before steepling his fingers like one of her mother’s gossipy friends at tea.

"Kieffer's birthday is in 3 days and being a public official, it's kind of a big deal so his cronies are throwing him some glitzy gala or whatever to celebrate, some sort of masquerade shindig, you know the type."

The captain took a brief pause to gnaw through his second caramel before continuing,

"By the sound of it, it’s going to be a real Who’s Who of upper-crust Krauts so of course Donovan being Donovan, he got you– Well, ‘Tanya’– an invitation.” 

Crumpling up the wrappers in his fist, Nixon gestured vaguely, 

"You put on a mask, you dance, you take out some Krauts on the fringes while no one's looking, conduct an interrogation or two...Piece of cake, really."

Alix narrowed her eyes, her mind racing with suspicion. This sounded too easy. 

“So what’s the catch?" she burst out. There's always a catch." 

"See, this is why I wanted you to just read through the folder," Nixon remarked through a mouthful of his third caramel block.

"If I wanted the third degree, I'd go back to HQ."

"Stop stalling," Alix pressed, beginning to bounce her knee with such anxious vigor that she could hear the floorboards creaking their complaints. "What's the bad news?" 

"You can read about it later," her case officer replied cryptically as he finished chewing.

"The Gestapo have an APB out for you so the first order of business is disguise. Everybody-- and I mean Everybody from the SD to the Milice-- is looking for you. Krauts are sick of you flitting away."

He lit up a cigarette, the worry lines creasing his forehead making him appear almost twice his actual age.

"One million Francs to the man, woman, or child apparently, who brings in Der Schwarze Schmetterling– The Black Butterfly." 

The Gestapo wanted her badly enough to give her a nickname? 

Alix wasn't sure whether to be flattered or horrified. 

“And with Le Fantôme making it his personal mission to hunt you down, your cover needs to be rock-solid. No one’s ever seen him face-to-face but he's still somehow gotten hundreds of Allied agents arrested!"

“Then how do we even know he exists?” the spy retorted skeptically. “Sounds like agitprop to me.” 

“Guy's all over Kraut radio. Unfortunately, he’s very real–" 

Her case officer took a strong puff of his cigarette as though attempting to summon some strength from the smoke. 

“And he’ll be at Kieffer’s birthday shindig somewhere, you can bet on it."

"Well, that's just great." Alix remarked facetiously. "Eight different agents in the program and they chose the one with the bounty on her head to go in solo. This oughta be a real cakewalk." 

"Hey!” Her case officer's voice rose with indignation and he sat forward immediately, brotherly concern written all over his face. 

“Who said anything about you going in alone? You really think I'd abandon you in a goddamn pit of vipers?"  

"Maybe I'm a discard" was Alix's automatic reply but the unexpected scrunching of his brows instantly made her regret it. 

“Well you’re not," her case officer snapped, hands gripping the chair’s arms, but Alix could still detect the faint pang of hurt in his tone at her mistrust. 

After all, Captain Nixon had visited her weekly. 

He had kept her updated on the outside world, brought her playing cards from Don so they could play Go Fish and even broke up the monotony by bringing her newspapers when he could grab one.

Even typing his AAR's, she realized, had its purpose: to keep her busy and in the know.

Yes, he'd made a joke out of the task, his perpetual smugness never wavering, but it had a purpose after all.

He had been playing a role, helping her to stay informed without even realizing it, through the guise of simply being too lazy to do it himself.

She must have grown on him some after all.

Alix knew she should probably apologize for doubting him but the memory of him scaring her half to death earlier quickly changed her mind.

No, fuck that, she thought wryly. It'd be a cold day in Hell before she'd apologize to Lewis Nixon.

"So who's my partner?" she asked instead.

"Fresh meat," was the dismissive reply as he reached for the folder. "Now--"

He began rifling through its contents, the rumbling undercurrent of laughter in his voice telling her that her doubts were water under the bridge.

"--if you're done being a pain in my ass--"

Without even a second's hesitation, he plucked a packet from near the bottom of the stack and tossed it over for her to catch before sitting back in his chair with his usual cryptic smirk.

"-- We can get down to business.” 

[kristabella]

Side chair

In 1881, Arabella Worsham, then-mistress of railroad magnate Collis P. Huntington, hired George A. Schastey & Co. to decorate her townhouse at 4 West Fifty-Fourth Street in New York City. The resulting artistic interiors would have been considered the height of cosmopolitan style in the early 1880s and were emblematic of Worsham’s quest to fashion her identity as a wealthy, prominent woman of taste. When Worsham married Huntington in 1884, she sold the house, fully furnished, to John D. and Laura Spelman Rockefeller, who made few subsequent changes to the decorations. Following Mr. Rockefeller’s death, the house was demolished in 1938, yet some furnishings, large-scale architectural elements, and three interiors were preserved, and the rooms were donated to local museums by John D. Rockefeller Jr.

This side chair of satinwood and purpleheart, one of a pair, is part of the suite (2009.226.1–.4) that furnished Worsham’s elaborately decorated dressing room, one of the preserved interiors now installed in The American Wing (Gallery 742). These objects were part of a decorative program that encompassed every aspect of the room, including the architectural woodwork, lighting, stenciled wall-treatment, painted ceiling and frieze, textiles, and other furnishings. On the chair’s back, the marquetry decoration of grotesque masks and vines echoes the ornamental motifs in the dressing room’s architectural woodwork. The overall form is light and rectilinear. The tapered front legs with cascading bellflowers channel the spirit of English Neoclassical designers such as Robert Adam and George Hepplewhite. It rests on castors, allowing it to be moved easily within the room.

Although few objects can be attributed to George A. Schastey & Co., the high quality of their work – as seen in this fine example – was comparable to other prominent firms of the Gilded Age, including Herter Brothers and Pottier & Stymus. At its peak in the early 1880s, the firm employed at least 125 people in its workshops. Their distinctive designs are steeped in Renaissance sources with flourishes from the Islamic world and the British design reform movement.

Medium: Satinwood, purpleheart, brass castors, reproduction upholstery

Dimensions: Seat height: 20 1/4 (51.4 cm) Front-to-back: 23 in. (58.4 cm) Crest rail to floor: 36 7/8” (93.7 cm) Seat front s/s: 19 ¼” (48.9 cm) Seat back s/s:13 ½” (33 cm)

[queens-an-tings]

The Execution of Lady Jane Grey.

Paul Delaroche, 1833.

The tragic conclusion to the story of Lady Jane Grey, Queen of England for just nine days in 1554, is depicted in this painting, which belongs to London’s National Gallery. At the centre of the scene, blindfolded and dressed in a long luminescent white gown is, of course, Jane herself, being guided towards the execution block by Lieutenant of the Tower, Sir John Brydges. The other figures which appear nearby are the executioner standing ready with his axe and two of the queen’s grieving attendants.

Historian Helen Castor mentions this painting in her documentary, ‘England’s Forgotten Queen: The Life And Death Of Lady Jane Grey’, as an example of how Jane’s execution has become “shrouded in myth”. Shortly after her death, an underground Protestant press published an account of the proceedings brimming with pathos and fully intending to make Jane a perfect Protestant martyr. Similarly, Delaroche’s theatrical, dramatised portrayal of the event, created over 250 years later, is not a historically accurate reconstruction of the actual circumstances, insofar as we can know them. For instance, the execution was in fact conducted in the open air, in a part of the grounds of the Tower of London that is known as Tower Green (the same place where Anne Boleyn and Katherine Howard had also been executed.)

Castor explains that the painting was first shown in 1834, three decades after the end of the French Revolution and suggests that it brings up the issues of French history which were perhaps too raw to be depicted at that particular time. She points out that the image of an innocent facing the block was a particularly resonant one in post-Revolutionary France and asserts that “what Delaroche was not striving for was historical accuracy about sixteenth century England”. In other words, here is the depiction of an historical event being deployed to raise questions about another, entirely unrelated historical event.

One of the contributors on the programme (I forgot to make note of his name!!) is scornful of the painting, remarking that “the only thing accurate is the straw” (the straw on which the block rests was used to soak up blood from the execution) and goes onto say that: “beyond that, it is an entirely, almost histrionic, dramatic evocation of an idea, rather than the depiction of an individual”. Indeed, he is so scathing of the depiction he goes as far as to describe it as “a rubbish image.”

Delaroche was popular during his lifetime for dramatic historical scenes, but this artwork is not alone with its inaccuracies. Another example is at The British Museum: a print by Delaroche which relays the urban myth of Oliver Cromwell lifting the lid of the coffin of Charles I.

[mhkeiger]

Check out this listing I just added to my Poshmark closet: NWT CIATÉ LONDON Fierce Flicks Liquid Liner.

[weather-usa]

Hurricane Helene triggers record storm surge along Florida's Gulf Coast

Hurricane Helene made landfall between Tallahassee and Tampa on September 26 with sustained winds of 140 mph. Six states declared a state of emergency in advance of the storm.

A powerful hurricane making landfall along Florida’s vulnerable Gulf Coast triggered historic water surges, with the storm pushing several feet of water into coastal communities.

Climate and Average Weather Year Round in 32960 - Vero Beach FL

Water rescues were reported in the Fort Myers and Tampa areas, though some counties announced they could not respond to emergency calls due to the extreme danger for first responders.

Cedar Key, a small coastal town north of Tampa, recorded one of the highest water level surges, with an observation site measuring over 10 feet.

A nearby live camera captured the devastation as waves crashed against homes, with water levels surpassing six feet.

In nearby Steinhatchee, photos revealed mobile homes being swept away by a storm surge estimated to exceed 8 feet.

Before the storm hit, the Taylor County Sheriff’s Office urged those who hadn’t evacuated to write their contact information on an arm or leg to ensure identification after the hurricane passed.

“If you or someone you know chose not to evacuate, PLEASE write your name, birthday, and important information on your arm or leg in PERMANENT MARKER so you can be identified and your family notified,” the sheriff’s office advised.

It’s unclear how many of the county’s roughly 21,000 residents ignored the evacuation order, though FOX Weather cameras caught vehicles still on the roads during the height of the storm.

State officials warned that it could take days to assess the hardest-hit areas, but resources were ready to respond once the all-clear was given.

Weather Forecast For 80011 Aurora CO:

https://www.behance.net/gallery/202336289/Weather-Forecast-For-80011-Aurora-CO

Many parts of Florida’s Big Bend saw significant water rises during Hurricane Idalia in 2023 and the 1993 Superstorm, but none compared to the magnitude of Thursday’s event.

While the exact height of the storm surge southeast of Tallahassee may never be known due to a lack of observation sites, pre-hurricane forecasts predicted a surge between 15 and 20 feet.

Further south, in the Tampa Bay and Fort Myers areas, deputies and first responders were seen using boats and other emergency equipment to check on potential victims door-to-door.

Water was reported entering homes as residents resorted to kayaks to stay afloat and avoid the hazardous floodwaters.

Families of coastal residents even turned to social media for help in checking on their loved ones as water levels continued to rise into Friday morning.

“Members of the Pasco Sheriff’s Office, including Sheriff Chris Nocco, and our partners at Pasco County Fire Rescue are actively conducting water rescue operations along the US 19 corridor,” deputies stated after Helene passed.

Amid a stormy day, the AquaFence barrier provided a glimmer of hope by effectively holding back the storm surge around Tampa’s only Level 1 trauma center.

Tampa General Hospital reported that the barrier was engineered to withstand storm surges of up to 15 feet, successfully preventing water from disrupting hospital operations.

On Friday, Tampa Mayor Jane Castor took to the skies to survey residential and business communities along the region’s numerous waterways.

Hundreds of homes were thought to have sustained damage from a storm surge exceeding five feet that affected the bay.

The city announced that the National Guard was mobilized to aid in rescue operations, though there have been no reports of missing persons related to the storm.

See more:

https://weatherusa.app/zip-code/weather-19944

https://weatherusa.app/zip-code/weather-19945

https://weatherusa.app/zip-code/weather-19946

https://weatherusa.app/zip-code/weather-19947

https://weatherusa.app/zip-code/weather-19950

The area experienced its worst coastal flooding since the 1921 Tampa Hurricane, a Category 3 storm.

[bostonmedias]

Giantz 14 Drawers Toolbox Chest Cabinet Mechanic Trolley Garage Tool Storage Box

Tm The Toolman Taylor would have been proud to own one of these. Even though Tim Taylor (of the Home Improvement TV series) is fictional, these impressive tool boxes are exceptionally real in every way.

Made from powder coated metal, these heavy duty tool boxes are built to keep your precious tools in their proper place with drawers that are specifically designed to cater to various tool sizes. From top to bottom, each drawer slides in and out effortlessly on quality ball bearings incorporated into the metal drawer runners. Each drawer is also lined to protect your tools and keep them from moving about. Not least, the tool boxes are installed with round barrel locks that are more reliable and secured compared to general locks.

This 14-drawer trolley tool box are installed with castor wheels with brakes for easy mobility and fast standing. They also feature sturdy oval-shape handles that provide full grip and smooth handling.

The bad workman always blames his tools. But with our GIANTZ tool boxes, you certainly cant blame the tools for being in a good place.

Features: Robust steel construction Superior ball bearing slide heavy duty & super smooth sliding All drawers w/ scratch proof liners protects both tools & drawer Rust resistant coated surface Solid built with large storage capacity Multi-size drawers with scratch proof drawer mats for lower trolley 360 castor wheels with brake for maximum convenience Flexible design, chest & trolley can be separated Sturdy handles for chest and trolley - easy mobility Fully lockable drawers to prevent missing tools

Specifications: Brand: Giantz Material: Steel Finish: Rust resistant coated Lockable & keys: Yes Overall dimension: 61.5 x 33 x 112cm Colour: Blue Upper Chest contains 9 drawers for small tools: Overall Dimension: 60 x 26 x 38cm Refer to gallery for further dimensions Lower Cabinet contains 5 drawers for large tools and accessories: Overall Dimension: 61.5 x 33 x 74cm 3 Top Drawers: 51.5 x 28 x 8.5cm 2 Bottom Large Drawers: 50.5 x 28 x 14cm

Product Contents: 1 x 9 Drawer Chest 1 x 5 Drawer Trolley

Brand : Giantz. Barcode : 9350062063859.

[joseandrestabarnia]

Título completo: Señora Siddons Artista: Thomas Gainsborough Fechas de artistas: 1727 - 1788 fecha realización: 1785 Medio y soporte: Óleo sobre lienzo Dimensiones: 126 × 99,5 centímetros Crédito de adquisición: Comprado, 1862

La señora Siddons (1755-1831) fue la actriz trágica más grande de su tiempo y permaneció en la cima de su profesión durante 30 años. Gainsborough la pintó en el invierno de 1784-175, durante su tercera temporada en Londres.

La mayoría de los retratos anteriores de la señora Siddons la representan en su personaje, pero Gainsborough la retrató fuera del escenario y con un traje moderno y moderno. Lleva un sombrero de castor negro adornado con cintas y plumas de avestruz, y una "bata de abrigo" de rayas azules, un manto amarillo y un manguito de piel de zorro. A Gainsborough aparentemente le resultó difícil captar los rasgos distintivos de la señora Siddons y se dice que exclamó: "¡Maldita nariz, esto no tiene fin!".

En el momento en que Gainsborough la pintó, la señora Siddons interpretaba el papel más importante de todos: Lady Macbeth. Algo del poder y la pasión de esa parte se puede sentir en el retrato, considerado por algunos como la obra maestra del artista.

Información e imagen de la web de la National Gallery de Londres.