#rudolf c

[fangs-trait]

I can't escape myself So many times I've lied But there's still rage inside Somebody get me through this nightmare I can't control myself

[whensomethingelsecries]

there is genuine tragedy to kyrie's character i should probably mull over one of these days. like the whole context of the family she comes from probably does a lot to inform her character. but i have so much appreciation for even the simple facts of ushiromiya kyrie. this woman has spent so much of her life obsessively devoted to baby trapping the most 3/10 guy you'll ever meet and it's not ever really made clear what she sees in him

[fitzrove]

legs

[paarthursass]

AND ANOTHER THING lucheni has SOOO many smartass remarks to make about every character in that musical except for rudolf.  iirc the ONLY times he talks about rudolf are when he’s a kid, and even then it’s just to talk about how elisabeth has abandoned him.  and then rudolf is the most sympathetically presented character in the musical.

like.  playing favorites much, lucheni

[cuties-in-codices]

absalom caught by his hair, hanging from a tree

"Now Absalom happened to meet David’s men. He was riding his mule, and as the mule went under the thick branches of a large oak, Absalom’s hair got caught in the tree. He was left hanging in midair, while the mule he was riding kept on going." - 2 Samuel 18:9 (NIV)

illustration from a manuscript copy of the weltchronik by rudolf von ems, zurich, early 14th c.

source: St. Gallen, Kantonsbibl., VadSlg Ms. 302, fol. 186v

[notesonfilm1]

Natasha Rambova's designs for Camille (1921)

A bonus of the Warner Archive blu-ray of Camille is the celebrated 1921 version directed by by Ray C. Smallwood, a lesbian-lead project (Nazimova starred and produced, June Mathis wrote it, Natasha Rambova designed the production). The sets and costumes, a combination of art nouveau and arts and crafts design, is very striking, as indeed is Nazimova’s startling performance. Valentino plays…

[soulsmashers]

          rudy  didn’t  think  that  he  would  ever  get  married.  at  least,  not  to  the  person  he’s  about  to  marry  right  now.  there  was  no  chemistry,  nothing  that  really  made  him  want  to  come  home  to  them  after  a  long  day.  it  was  all  about  money,  all  about  the  family  business  and  the  idea  their  parents  had  that  them  being  together  would  only  make  the  empires  both  of  their  families  owned  even  more  powerful.  it  was  a  meticulously  orchestrated  money  grab,  one  that  rudy  hated  being  forced  into.  the  blonde  knew  that  it  was  unfair  of  him  to  send  something  like  that  to  nelo,  maybe  even  borderline  cruel,  but  he  can’t  go  through  with  this  without  the  other  knowing  how  he  really  feels.  truthfully,  he  doesn’t  expect  to  see  him  there,  assuming  he  would  ignore  his  invitation  and  get  on  with  his  life.  being  face  to  face  with  him  again  brings  back  unresolved  feelings,  sparks  he  doesn’t  think  he’s  ever  felt  with  anyone  else,  and  a  certain  heart  ache,  a  heavy  feeling  he  can’t  seem  to  get  rid  of.  it’s  a  whirlwind  of  emotions  the  blonde  is  struck  with,  enough  to  leave  him  frozen  in  place.  “i  know,”  he  tells  them,  pausing  briefly,  “i’m  sorry.”  a  defeated  shrug  follows,  a  wave  of  nostalgia  slapping  him  with  no  mercy.  “i  just  couldn’t  go  through  with  this  without  you  knowing  how  i  really  feel.”

               nelo  ,  twentysix  ,  he  /  him  ,  queer.

               open  to  all

               he  didn't  know  why  he  was  here,  he  should've  thrown  the  invitation  for  their  wedding  straight  in  the  trash  and  gone  on  with  his  life.  like  anyone  with  a  shred  of  self-respect  would  do.  but  unfortunately  (maybe,  fortunately?)  nelo  did  not.  so  he  put  on  his  best  suit,  sprayed  something  expensive  on,  and  hid  in  a  corner  of  the  church.  possibly  about  to  ruin  someone's  life.“  why  would  you  send  that  ?  i  don't  understand  you.  at  all.   ” 

[vinceaddams]

Early 18th (and late 17th) century fashions are so under-utilized in vampire media and I think it's a damn shame.

I don't actually think I've ever seen a single image of a vampire character in an early 18th century suit. Hardly any movies set in that era either, and hardly any historical costumers who do it. (Even my beloved gay pirate show set in 1717 takes nearly all of its 18th century looks from the second half of the century. Not enough appreciation for baroque fashion!!)

Yes I love late 18th century fashion as much as anyone, and 19th century formal suits are all very well and good, but if you want something that says old, dead, wealthy, and slightly dishevelled, then the 1690's-1730's are where it's at.

(Retrato del Virrey Alencastre Noroña y Silva, Duque de Linares, ca. 1711-1723.)

There was so much dark velvet, and so many little metallic buttons & buttonholes. Blood red linings were VERY fashionable in this era, no matter what the colour of the rest of the suit was.

(Johann Christoph Freiherr von Bartenstein by Martin van Meytens the Younger, 1730's.)

The slits on the front of the shirts are super low, they button only at the collar, and it's fashionable to leave most of the waistcoat unbuttoned so the shirt sticks out, as seen in the above portraits.

(Portrait of Anne Louis Goislard de Montsabert, Comte de Richbourg-le-Toureil, 1734.)

Waistcoats are very long, coats are very full, and the cuffs are huge. But the sleeves are on the shorter side to show off more of that shirt, and the ruffles if it has them! Creepy undead hands with long nails would sit so nicely under those ruffles.

(1720's-30's, LACMA)

Embroidery designs are huge and chunky and often full of metallic threads, and the brocade designs even bigger.

(1730's, V&A, metal and silk embroidery on silk satin.)

Sometimes they did this fun thing where the coat would have contrasting cuffs made from the same fabric as the waistcoat.

(Niklaus Sigmund Steiger by Johann Rudolf Huber, 1724.)

Tell me this look isn't positively made for vampires!

(Portrait of Jean-Baptiste de Roll-Montpellier, 1713.)

(Yeah I am cherry-picking mostly red and black examples for this post, and there are plenty of non-vampire-y looking images from this time, but you get the idea!)

And the wrappers (at-home robes) were also cut very large, and, if you could afford it, made with incredible brocades.

(Portrait of a nobleman by Giovanni Maria delle Piane, no date given but I'd guess maybe 1680's or 90's.)

(Circle of Giovanni Maria delle Piane, no date given but I'd guess very late 17th or very early 18th century.)

Now that looks like a child who's been stuck at the same age for a hundred years if I ever saw one!

I don't know as much about the women's fashion from this era, but they had many equally large and elabourate things.

(1730's, Museo del Traje.)

(Don't believe The Met's shitty dating, this is a robe volante from probably the 1720's.)

(Mantua, c. 1708, The Met. No idea why they had to be that specific when they get other things wrong by entire decades but ok.)

(Portrait of Duchess Colavit Piccolomini, 1690's.)

(Maria van Buttinga-van Berghuys by Hermannus Collenius, 1717.)

Sometimes they also had these cute little devil horn hair curls that came down on either side of the forehead.

(Viago in drag Portrait of a lady, Italian School, c. 1690.)

Enough suave Victorian vampires, I want to see Baroque ones! With huge wigs and brocade coat cuffs so big they go past the elbow!

[killyridols]

untitled (c-red) by rudolf stingel, 1995, red rubber mat, 33.5 × 24.5 × 3 centimeters

[autotopic]

1938 Mercedes-Benz W154

In September 1936, the AIACR (Association Internationale des Automobile Clubs Reconnus), the governing body of motor racing, set the new Grand Prix regulations effective from 1938. Key stipulations included a maximum engine displacement of three liters for supercharged engines and 4.5 liters for naturally aspirated engines, with a minimum car weight ranging from 400 to 850 kilograms, depending on engine size.

By the end of the 1937 season, Mercedes-Benz engineers were already hard at work developing the new W154, exploring various ideas, including a naturally aspirated engine with a W24 configuration, a rear-mounted engine, direct fuel injection, and fully streamlined bodies. Ultimately, due to heat management considerations, they opted for an in-house developed 60-degree V12 engine designed by Albert Heess. This engine mirrored the displacement characteristics of the 1924 supercharged two-liter M 2 L 8 engine, with each of its 12 cylinders displacing 250 cc. Using glycol as a coolant allowed temperatures to reach up to 125°C. The engine featured four overhead camshafts operating 48 valves via forked rocker arms, with three cylinders combined under welded coolant jackets, and non-removable heads. It had a high-capacity lubrication system, circulating 100 liters of oil per minute, and initially utilized two single-stage superchargers, later replaced by a more efficient two-stage supercharger in 1939.

The first prototype engine ran on the test bench in January 1938, and by February 7, it had achieved a nearly trouble-free test run, producing 427 hp (314 kW) at 8,000 rpm. During the first half of the season, drivers such as Caracciola, Lang, von Brauchitsch, and Seaman had access to 430 hp (316 kW), which later increased to over 468 hp (344 kW). At the Reims circuit, Hermann Lang's W154 was equipped with the most powerful version, delivering 474 hp (349 kW) and reaching 283 km/h (176 mph) on the straights. Notably, the W154 was the first Mercedes-Benz racing car to feature a five-speed gearbox.

Max Wagner, tasked with designing the suspension, had an easier job than his counterparts working on the engine. He retained much of the advanced chassis architecture from the previous year's W125 but enhanced the torsional rigidity of the frame by 30 percent. The V12 engine was mounted low and at an angle, with the carburetor air intakes extending through the expanded radiator grille.

The driver sat to the right of the propeller shaft, and the W154's sleek body sat close to the ground, lower than the tops of its tires. This design gave the car a dynamic appearance and a low center of gravity. Both Manfred von Brauchitsch and Richard Seaman, whose technical insights were highly valued by Chief Engineer Rudolf Uhlenhaut, praised the car's excellent handling.

The W154 became the most successful Silver Arrow of its era. Rudolf Caracciola secured the 1938 European Championship title (as the World Championship did not yet exist), and the W154 won three of the four Grand Prix races that counted towards the championship.

To ensure proper weight distribution, a saddle tank was installed above the driver's legs. In 1939, the addition of a two-stage supercharger boosted the V12 engine, now named the M163, to 483 hp (355 kW) at 7,800 rpm. Despite the AIACR's efforts to curb the speed of Grand Prix cars, the new three-liter formula cars matched the lap times of the 1937 750-kg formula cars, demonstrating that their attempt was largely unsuccessful. Over the winter of 1938-39, the W154 saw several refinements, including a higher cowl line around the cockpit for improved driver safety and a small, streamlined instrument panel mounted to the saddle tank. As per Uhlenhaut’s philosophy, only essential information was displayed, centered around a large tachometer flanked by water and oil temperature gauges, ensuring the driver wasn't overwhelmed by unnecessary data.

[soulsmashers]

          it’s  that  gaslighting  behavior  that  makes  rudy  want  to  strangle  him  and  kiss  him  at  the  same  time.  the  blonde  can’t  exactly  complain  because  truthfully,  it’s  not  like  he  hasn’t  played  the  same  cards  with  caleb  before.  the  only  difference  is  that  caleb  is  in  his  element  now,  with  his  people,  while  rudy  feels  out  of  touch.  what  does  a  sketchy pharmacist  have  to  do  in  a  situation  like  this?  it’s  not  like  he  had  even  brought  drugs  to  sell.  “i’m  not  fucking  jealous  of  shit,”  he  smiles  at  a  group  of  rich  socialites  walking  by,  then  asks  between  his  teeth,  “why  are  you  talking  to  them  like  that?”  his  previous  statement  clearly  being  chucked  out  the  window.  it’s  all  too  quick  when  the  other  is  grabbing  his  wrist  at  his  act  of  rebellion,  causing  the  blonde  to  clench  his  jaw.  “i’m  not  looking  anywhere.  are  you  okay?”  he  had  been  looking.  he  knew  that,  but  he  would  be  damned  if  he  ever  confessed.  if  anything,  he  had  to  make  caleb  feel  like  he  was  the  crazy  one  here,  flip  the  cake  on  him.  “don’t  tell  me  you’re  gonna  start  making  a  scene  here  at  your  own  event,  come  on  babe.” 

"you're jealous that i'm good at talking to people?" caleb raises a brow. he loves to simplify shit down to make the other seem insane. it's easier then admitting the truth that he may have been laying it on a little thick because he knew rudy was watching. they come from different worlds but caleb likes to remind rudy that they're both technically in customer service. he should understand. caleb doesn't hesitate to reach out a hand to grab at rudy's wrist once he's turned away from him. "the fuck you looking at over there? i'm right here." caleb snaps. "you think i would bring you here with me to flirt with some models? you're fucking crazy like always."

[whensomethingelsecries]

always really liked the combination of details "battler is known for using english phrases to sound cool" and "battler is, by his own admission, worse at english than seemingly anyone else in the family"

[womenshistory]

Femme berbère de profil / Berber woman in profile, Rudolf Lehnert & Ernst Landrock, c. 1910, Tunisia.

[eddy25960]

Rudolf Bonnet, Male Nude, c.1938

[antoniettabrandeisova]

Rome, a view of the river Tiber looking south with the Castel Sant'Angelo and Saint Peter's Basilica beyond, c. 1834. Rudolf Wiegman (German, 1804–1865) Oil on Canvas, 68.3 x 99 cm

[cuties-in-codices]

nero giving birth to a toad

illustration from a copy of the "weltchronik" ("chronicle of the world") by rudolf von ems, bavaria, c. 1400-1410

source: Getty Museum Collection, Ms. 33 (88.MP.70), fol. 226r