#scalaria

[hot-bumblebees]

Pain killer

cw: Use of weed for pain killers, chronic pain.

Anyway I head cannon that Sanemi experiences chronic pain. He just gives off that vibe. Like his scars and lower back are just fucked and Shinobu can’t find a cure. So here’s some Sanemi hurt/comfort. Also my first nonsmut post so yay.

Enjoy

…

Sanemis house had been lifeless for the past two weeks, except for the staff that took care of it. Every time you came by he wasn’t there and the servants had told you that he hadn’t come back yet. You knew he was somewhat of a workaholic. But he’d usually only go out for a week then came back or he would tell you that the mission he was sent on was a longer one. But you hadn’t heard from him directly. You heard from other workers, wether it’s the kakushi or other swordsmen that he had been on some sort of rampage and that he was even more pissed off and irritable than he normally was. You felt bad for whoever had to interact with him after hearing that. You loved Sanemi but you knew what he was like.

A few more days went before you decided to go check again. The sun was starting to set by the time you got to his house. But unlike the other times you went there there were lights on in the house. You felt yourself get exited by the way the smile on your face was pushing your cheeks up and by the way you sped up. You didn’t even knock on the door, simply letting yourself inside and went on the hunt for Sanemi. You started to look around for him but it didn’t take long to track him down with the way the blunt he was smoking smelt. You followed the pungent smell all the way to his bathroom. The door was slightly closed with a warm light spilling through the crack. This time you gently knocked as you called out his name. You heard water swooshing before you heard a ‘what’ with barley any bark.

“Can I come in? It’s Y/n?” You didn’t want him thinking that you were one of his staff.

He sighed before letting out a little ‘yeah’.

You opened the door to Sanemi in the bath with an ash tray on the side of the tub with one joint bud in it. There where a few candles Illuminating the room helping you see Sanemi. He had two new wounds, one on his arm and one on his leg. As you approached him his eyes lazily opened to see you, his pupils blown and his scalaria was bloodshot.

Seeing him now made you sad. It made sense now. His rampage and attitude. The poor thing was in pain. You knew that he had chronic pain from the scars on his face and in his lower back from who knows what, that’s one of the main reason he smoked, was to help the pain but also help calm his mind. His rampage, Sanemi is not the type of person to listen to his body nor his soul, choosing to ignore it until it becomes unbearable. He probably went on missions to prove to himself that he’s a pillar and he shouldn’t let this ‘miniute’ thing get in the way. What he didn’t understand is that no matter your status or who you are, every one deserves to rest and to enjoy life.

You sat down on the floor beside the bath tub, facing him. His pretty purple eyes wondered around before finding yours. He looked so tiered.

“Hi Sanemi.” You greeted.

“Hi.” He replied calmly.

“I haven’t seen you in a while. How have you been?” You ask already knowing the answer.

Sanemi gives you a sour look before he closes his eyes again.” Annoyed, miserable, in pain. Nothing new.”

You frown a little as you go to grab his hand that was in the water, gently rubbing his knuckles.” Sanemi you have to start taking care of yourself. Listen to your body. I know it makes you feel weak, but I hate seeing you like this. And I know you hate being in this state.” You tell him briefly.

His eyes open briefly for a moment to roll them.” If you’re here just to piss me off then leave. I don’t have the energy right now.” He grumbles.

It was your turn to roll your eyes now: must he always be this difficult?” I’m here to give a fuck about your wellbeing whether you like it or not. You need to rest. I don’t care what your status is. You literally have chronic pain, you’re not like other people. You need to take it easier more often and that’s ok. It’s ok to take a break.” You argue back with no actual bite.

“Shut up.” Was all he could say, knowing you were right. Knowing you, you’ve probably already told Kagaya that he would not be going to work.

“Not going to.” You bring his hand up to kiss it.” Anyway, where does it hurt?” You ask putting his hand back in the water.

He moves around for a moment before getting comfortable again.” The scar across my nose feels like it’s on fire and I feel like I’m being stabbed in my back constantly. And it’s worse than it normally is.” He explains, sounding tired.

You murmur a quiet ‘I wonder why’ as you roll you eyes. Making Sanemi glare at you.” Well once you’re done in here I can give you a massage if you want?” You offer knowing that it helped him.

“Please.” It came out as a plead.

….

Eventually he wanted to come out, so you helped him then handed him a towel. You guys walked to his room slowly and gave him pyjama pants to put on. Once he did that he sat down on his bed cross legged.

“Where do you want me to start? Face? Back?” You ask as you get ready to grab a product. Instead of responding he just flipped onto his stomach and laid there. You grabbed a massage oil and went to sit on your knees beside him. You unscrew the lid and use the dropper to pour the lavender scented cbd oil onto his lower back and placed the oil back onto the floor. You spread the oil around the scarred surface making sure to apply a pleasant amount of pressure, then come back to the main focus being his lower back.

You run your thumbs down his spinal cord hitting a certain spot that made him tense up in discomfort. You keep going up his spine and then move your hands back down his lats to repeat the motion knowing that it would cause him some discomfort. You leaned over to press gentle kisses on his shoulders to try and help distract him from the sharp pain shooting down his legs.

“Please. I need a break. It really hurts.” His request almost sounded like a beg. Without saying anything you moved to his shoulder blades and began working on the knots tangled in there. It seemed to have calmed him. He didn’t tense up that much anymore and he wasn’t letting out sounds of pain, instead he was sighing and almost moaning from the feeling.

“You should go for acupuncture it might help. I’ve heard of many people who’ve benefited from it.” You suggested as both your hands work on a knot in his left shoulder.” And the acupuncturist at the butterfly mansion is very nice. I could get you an appointment with her if you want.” You offer, feeling the knot dissipate in his shoulder.

“I’ll think about it.” He mumbled, too lost in the feeling of the pleasurable pain taking place on his upper back, but unfortunately that was going to end as you work your hands down his back again.” K I’m going to work your lower back again.” You warn while your hands travel down his back again. He lets out an exasperated sigh.

Once again the pain starts up again. Although it has loosened up since earlier it still hurts like a mother fucker, so much so that tears started to form on his lash line. Each time you hit a certain nerve it felt like he was getting stabbed with an inflamed knife the made the nerves going down to his legs catch on fire. It was a terrible pain. Some times when he went on missions he would find himself quietly but angrily crying as the pain took over all his senses. It wasn’t like he couldn’t handle the pain initially, but he had to feel it nearly every day, the pain varying from day to day, it was constant and frustrating. Some days were almost painless, but on the really bad days like today he would usually cry and smoke a blunt to try and ease the pain with a hot bath. But that could only do so much.

“Your doing so good Sanemi.” You praise, trying to help comfort him after you heard him sniffle.” We’re almost done. Ok? A few more minutes.” You tell him.

Sanemi didn’t respond, too busy thinking about the incredible pain he felt. You kept doing your thing, doing different movements to try and ease the pain for later. But Sanemi started jerking around and shaking. His breathing became rugged along with the occasional sniffle.” Please-“ he took a deep breath, closing his eyes as a few tears soak the bed beneath him.” Please stop.” He demanded surprisingly kindly.

You took your hands away and stopped every thing.” Do you want to continue or no?”

“No.” He said quickly.

“Ok, we can do your face then?” Not knowing if he was still up to it. He turned around and sat up, looking in your eyes for a bit.

“Ya…” He said slowly.” Just let me smoke again.” He said and went to reach for his night stand where he kept his case with joints in it.

“Ok I’m gonna go get some stuff. Ok?” You say as you get up and leave, watching Sanemi light his joint with the cute lighter you got him.

…

When you get back Sanemi’s laying on his futon, staring at the celling. You went to go sit crossed legged by his head, pushing his head up so you could put it back on your lap. You look down at his pudgy face, it looked so relaxed. You grab a hot wet towel that you brought and gently massage/ rub his face. He let out a pleasured sigh as the corner of his lips tilted up in a small smile.

The hot towel felt amazing on his scar, the heat melted away the aching pain that caused him so much anguish. You let him enjoy the the towel for a little longer then put the towel on the floor. You picked up the bottle off the floor and dropped a few drops of serum onto his face, then close the bottle and put in on the floor. You bring your hands back up to his face and rub the serum into his scared face. You make sure to rub you fingers against the scar, gently stretching the tissue.

This was a lot less painful then his back that’s for sure. This was more relaxing than his back, he was actually enjoying the whole thing. He wasn’t showing any signs of discomfort.

Sanemi let out a pleased sigh and half opened his eyes. A small smile appeared on his lips as he looked up at you with literal hearts in his eyes. Grabbing your hand from his face he brought it down towards to his mouth and kissed you knuckles.” I love you so much. So nice to me…” He closed his eyes, losing his train of thought and letting out a laugh over nothing.

You giggle too, he was so cute when he didn’t have a stick up his ass 24/7.

You continued until you noticed that Sanemis breathing slowed down and he wasn’t reacting anymore. You slowly stopped what you were doing before moving him off to make him lay down. You got up to go get yourself ready for bed.

When you came back you laid down on the futon beside him and pulled his face into your chest, leaving one in his hair to play his white hair and the other one went to rub his back.

His eyes opened a little and looked up at you.” I’m supposed to be cuddling you. Rub your hair… take care of you…” He pouts, closing his eyes and weakly tries to fight his way to being the one draped over you. You quickly shut that down by holding him tighter.

“Sanemi shut the fuck up and let me pamper you.” You say as lovingly as you can. He let out a dramatic sigh but cooperated therefor you loosened your hold on him. Sanemi pulled closer and whispered a barely coherent ‘I love you’ as he easily dozed off. You let out a small giggle.”I love you too.” You whisper back with a smile as you peck his forehead with a small kiss before you also doze off.

…

A/n: anyway I feel like Sanemi is a cannabis user more than a drinker. He seems like someone who needs their mind to shhhhut the hell up, if not he’ll go insane. So ya. See y’all later chat city.

[midnightcreator12]

Well, only one person replied to my post..... but that person was @antimattercontainment​ Who is awesome soooooo....

Fr tho, just wanna talk about this cus I drew a thing, anyway!

My one main issue with the 2012 Mutant Apocalypse was this guy here VVV

Maximus Kong, aka Leo, aka the Shredder stand in for this arc. And I don’t dislike him because of the design, but because he’s Leo.

You’re telling me Leo, who is routinely shown to be a very empathetic person with a strong sense of justice throughout the show, became a ruthless, tyrannical overlord who's only goal is to take over the world after losing his memories?

And yeah, we could make the argument that he was alone and probably got picked up by a bad crowd, or he got like this to survive, but I personally wouldn’t have gone in this direction.

So, I guess this is kinda an AU? Does it count as an AU if I’m not really gonna do much with it?

idk, anyway!

So, the arc goes down like normal, the only change is Kong is not Leo and he’s brought up from episode one as this kinda boogeyman that everyone tries to stay as far away from as possible and his Beast. The story goes that Kong has this powerful, unstoppable mutant that no one can kill. No one really know what kind of mutant it is, anyone whos gotten close enough to see it is swiftly killed by it.

Throughout the arc Kong shows up just behind our heros, starting pretty far away but getting closer with each appearance. And whenever he appears, the audience sees flashes of a hulking beast with mutagen glowing spikes and murdious glowing eyes. No one gets a good look at it, not even Donnie can get a good read on what that thing is, but where ever Kong is, his monster is right at his side.

Then we get to the final fight, Raph is on Kong’s rig and is actually winning the fight. But then Kong whistles and Raph is tackled to the ground by the Beast. It towers over Raph, wild eyes and snapping teeth inches from his face, claws ripping at his armor.

And at first Raph fights back, ready to give his all against this monster. But then he looks, really looks, the monster in the eye, in an attempt at intimidation maybe, or ready to face his death head on.

But he knows those eyes. The scalaria has gone green and bloodshot but he knows that shade of dark blue almost as well as his own neon green.

(look this is as close to scary as I can get, just pretend he looks scary)

“Leo?”

And at first, the name doesn’t seem to do anything but make Leo more mad, doubling his efforts to try and take Raph down. But Raph has switched tactics, now going on the defensive and begging Leo to recognize him, to remember him.

Leo doesn’t seem to hear him, he does hesitate a few times but Kong commands him to “Take that worm down for your master!” And goes right back to attacking Raph.

Eventually he slams Raph to the ground hard enough to daze him. Kong laughs as Raph hoarsely keeps calling for Leo, saying, “Whoever that freak used to be is long gone. You waste what little breath you still have.”

Kong grabs Raph, intent on beating him to death. Raph cries out when something in his shoulder snaps. He turns to look at Leo standing to the side, staring at the scene unfolding.

And, thinking he’s going to die here, Raph wants Leo to know one thing, “Leo....I love you brother.”

And something shifts. It’s still fuzzy but something deep in Leo’s mind stirs, remembers a much smaller, younger Raphael.

His brother...that’s his brother.

Kong was not expecting his loyal attack dog to suddenly pounce, he barely had time to react before powerful jaws closed around his neck with a wet crunch.

Leo then goes to Raph, his voice is all but gone from years of not using it, but he nudges his brother, wheezing out a weak, “Raph.”

Then the tank lurches. It had been heavily damaged in the fight and was veering through the canyons out of control. Leo doesn’t even hesitate to curl himself over Raph, tucking his long lost brother close as the rig is ripped to pieces around them.

When the rest of the gang catch up, they find Leo, curled up in a ball. At first they freak out when they see Leo’s maw is coated in blood but Leo slowly rises, revealing a very alive Raph under him.

Leo stares at his family, voice still rasping painful as he calls for them, “Donnie....Mikey....”

And then it clicks for everyone and they all surge forward to hug their big brother.

They’re reunited, brothers against the world. As it should be.

So, yeah, that was the one bit in MA that I didn’t like and how’d I fix it. Have a good day y’all! 

[laultimacocacolaeneldesierto]

Wonder Woman 1 cover by Matteo Scalaria

[jfdupuis]

"Scalaria 6" by Jean-François Dupuis on INPRNT

[heaveninawildflower]

Still life of various shells, including Murex, Hippopus, Solarium, Scalaria and Conus species. Frontispiece to 'Shells and their Inmates' (London: 1841).

Printed by George Baxter.

© The Trustees of the British Museum.

Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0) license.

[classicalmonuments]

Great Theatre of Philadelphia (Theater of Amman)

Philadelphia (Amman), Jordan

2nd Century CE 

 6,000 seat

The Roman Amphitheater is located in the eastern part of the Jordanian capital, Amman. A Greek inscription on one of the pillars indicates that this amphitheater was built in honour of Emperor Antonius Pius (138–161 CE).

The large and steeply raked structure could seat about 6,000 people: built into the hillside, it was oriented north to keep the sun off the spectators.

It was divided into three horizontal sections (diazomata). Side entrances (paradoi) existed at ground level, one leading to the orchestra and the other to the stage.

The highest section of seats in a theatre offers excellent sightlines, while the actors can be clearly heard, owing to the steepness of the cavea.

Sources and more text below.

“The great theatre of Philadelphia is situated near the eastern extremity of the town, on the south side of the stream (see map), at a point where the mountain¬ side, a steep wall of rock that rises from the river throughout the greater part of the length of the town, stands back from the bank of the stream, leaving a level terrace, partly artificial and partly natural, upon which a number of ancient buildings stood. The cavea of the theatre, which consists of three horizontal divisions of seats, was almost completely excavated in the rock of the hill-side, though it was found necessary to build up the higher parts of both ends of the semicircle. None of the seats was cut in the natural rock, but all were made of a slightly different quality of limestone, quarried, no doubt, in the immediate vicinity. The artificial portions of the cavea were erected upon masses of masonry penetrated with tunnel vaults that followed the curve of the cavea to about a third of its perimeter on either side. The semicircle of the cavea was produced in straight lines about four meters on either hand, and this part, being entirely artificial, was built upon three stories of superposed tunnel vaults separated by great masses of solid masonry. The lowest of these vaults, on either side, served as an exit, a. sort of covered parados, under the end seats. The scaena with all the stage buildings has been entirely destroyed, leaving only remains of its foundations. The auditorium (Ill. 31) is exceptionally well preserved so that even the casual visitor will observe that the cavea had three horizontal divisions of seats, with an upper and a lower praecinctio, besides an outer horizontal passage above the uppermost tiers of seats. The seats in the middle sections are preserved, from the orchestra to the uppermost passage, though those of the lowest division are almost completely buried in soil that has washed down from above. A more minute examination reveals, as the plan (Pl. IV) shows, that the lower and middle sections comprised each sixteen tiers of seats, divided by six scalaria into seven cunei, with scalae at the ends of the outer cunei. The uppermost division of seats is composed of eight cunei, and the scalae in this division were midway between the ends of the scalae of the lower divi- sions. The number of tiers of seats in the lowest division is assumed to be equal to that in the middle division from the oldest descriptions on the one hand, and from the measurements on the other. The orchestra and the lowest tiers of seats are completely buried, as is shown by the dotted line in section C. D. of Plate IV ·, but the level of the orchestra may be determined from the level of the passages within the arches that open upon the orchestra on either side. The semicircular barrier about the orchestra is not likely to have been over 1.50 m. high, and a height of 1.30 m. would allow for just sixteen tiers. The middle division preserves almost all of its tiers of seats intact, on the west side (Ill. 32) as far as the scalae on the diameter of the semicircle, and on the east side (Ill. 33) to within two or three meters of that line, as is shown by dotted lines on the plan and in Pl. IV, section C.D. The topmost division preserves five cunei intact, the cuneus on the west end, and the corresponding cuneus on the opposite side, with half of the cuneus adjoining it, having fallen in ruins (Ill. 32 and 33). These portions being built upon artificial substructures were naturally among the first to fall. The middle horizontal division of seats was reached from the lower praecinctio by double flights of steps in the middle of the terminal cunei. The uppermost division was reached from the upper praecinctio by similar flights in the middle of each of the uppermost cunei, at the ends of the lower scalae (Plan, Pl. IV). The upper and the lower praecinctio are each 2.30 m. wide; their walls are 1.80 cm. high; the passage at the top of the cavea is 3.40 m. wide, and probably had a colonnade corresponding to its outer wall which is 4.50 m. high. In the middle of this outer wall is an exedra which will be discussed later. Immediately within the wall of the lower praecinctio, at both ends, is a vaulted passage with two openings upon the praecinctio. From the present condition of the passages it is not possible to determine how far the vaults were carried; but, judging from the slope of the hill at this point, I do not believe that they were carried far beyond the second opening to the praecinctio. (Section C. D.). The passages within the wall of the upper praecinctio were carried well around the curve to points shown in the plan by dotted lines drawn across the uppermost division of seats. It had three openings to the praecinctio, on either side of the cavea. (Section C. D.). The openings between the vaulted passages and the praecinctiones were not arched, but were provided with long three-piece lintels or flat arches, that carried the seats above them. The steps which mounted to the upper divisions of seats were placed on either side of these openings, and within the circle of the lowest tier which was not a seat, properly speaking, but a narrow passage above the praecinctio. The arches that opened upon the orchestra sprang from moulded caps, and had moulded archivolts, as is shown in the detail drawings in Plate IV. The same plate shows also the details of the mouldings at the top of the walls of the praecinctiones, and the mouldings and other details of the seats and steps. The details of the exedra at the top of the cavea could not be accurately drawn, owing to the fact that the place has been converted into a modern dwelling. It appears to be well preserved. Two columns stand in the opening of the exedra, supporting an architrave and an arched pediment (Ill. 31). The spaces between the columns, and on either side of them, have been filled with walling pierced with a door and windows, and the pediment has two windows in it. The whole surface is covered with mud plaster, so that nothing but the chief dimensions of the exedra are obtainable. I was told that there were three niches within the exedra, and I have shown them in the plan and elevations as they were described to me. The extension of the cavea toward the north was, of course, entirely artificial. The lowest of its vaulted passages are preserved on both sides, with their ornamental arches which opened upon the orchestra. These arches are in line with the sixth tier, from the top, of the lowest division of seats. Above the arches were five tiers of seats. The outer ends of these passages were undoubtedly open, though they are closed now, so far as we may see in the accumulation of debris; for this reason I have shown walls in the plan closing the ends, but in section A B I have shown an arched opening at the left end. The remains of the next vaulted passage, i. e., that on the level of the first praecinctio, consist of a pavement and two side walls on the west side (Ill. 32), and a pavement on the side opposite (Ill. 33). Of the uppermost passage no remnant remains, but it unquestionably existed. In section CD of Plate IV, a cut through the three vaults is shown on the left, with the ends of the curved passages opening upon them; on the right is shown the plain outer wall that rose from the pavement of the parados to the top of the end of the cavea. It is impossible, in the present condition of the ruins, to find out definitely the width or disposition of the paradoi. Owing to the distance between the cavea and the foundations of the scaena, it seems certain that there were open spaces on either side between the ends of the cavea and the stage buildings. However, there seem to have been walls at the ends of the paradoi, as may be observed in Ill. 32, where an ancient wall, now employed as the east wall of a modern dwelling, is seen, abutting the end of the cavea at the level of the lower praecinctio. The lower part of this wall is deeply buried in debris, and it is impossible to say whether there was an opening in it on the orchestra level at the end of the parados. It may have been that the ends of the paradoi were closed, and that the paradoi were used exclusively by the chorus (see small restored plan above section A B); while the vaulted passages below the ends of the cavea were the means of entrance and exit for the audience. One would hardly detect the remains of stage buildings in the ruins of this theatre without searching for them. Some writers have even gone so far as to say that the theatre of Phila- delphia had no stage. The foundations of these buildings are indeed almost completely buried, only the upper surface of the stones can be seen in the general level of the soil, and this surface is worn smooth with constant passing. In the plan I have shown the foundations as they appear. To the left of the line which bisects the cavea are foundations which show a semicircle and a quadrant facing the cavea; the quadrant terminates in a short projecting wall: the rear part of these foundations is perfectly straight, and three meters from it are the foundations of a wall, 1.10 m. thick, composed entirely of headers. On the right of the line which bisects the cavea there are no traces of foundations now visible as far as a modern wall; this wall are foundations with a semicircle corresponding exactly to the other, and with a straight line behind it, a passage three meters wide, and an outer wall, 1.10 m. thick, which forms the boundary of a modern court-yard. Beyond the semicircle, i. e., toward the west, is an open space, and on the other side of this, more foundations, and other modern houses. These remains are scant enough, but they apparently give us a basis for the restoration of the scaena in the form of a solid wall 4.30 m. thick, with an opening in the middle flanked by half niches, with semicircular niches on either side beyond the half niches, and with a passage in the rear. We may perhaps carry the restoration a little further by recognising a side portal of the scaena in the break in the west side, though it does not appear to be matched on the opposite side. This, however, may be due to the condition of the ruin. The plan of the parascenia must remain a matter of conjecture until systematic excavations shall have been undertaken here. Eastward from the foundations of the scaena are heaps of rubbish, and westward are modern houses. I am of the opinion that two of the modern houses shown on the plan, and in Ill. 32, make use of the wall of the stage buildings, but the house- walls are so completely coated with mud plaster that it is quite impossible to ascertain whether they are ancient or not. The extreme north wall of the stage buildings appears, from the ruins, to have been prolonged to the outer ends of the cavea, as I have shown in the small tentative restoration. Outside of the rear wall of the stage buildings, and at a distance of about seven meters from it, there appears to have been a colonnade of Corinthian columns. Eight of these columns are still standing, with architraves above them, opposite the western end of the cavea. The row of columns extends a little beyond the line of the west side of the cavea to a double column, the stump of which protrudes from the soil. From this point a second colonnade was carried northward, not quite at right angles with the first colonnade. The second colonnade consists now of only four columns without capitals; it is of smaller scale than the other: the larger columns are .70 m. in diameter, and the intercolumniations are nearly 3 m.; while the smaller columns have a diameter of only .60 m., and inter- columniations of 2.32 m. The greater colonnade undoubtedly extended entirely across the width of the theatre, and the smaller one may have corresponded to a similar colonnade at the east end of the theatre, the three enclosing one end and two sides of a public square in front of the great theatre, flanked on the east by the odeum, and, possibly, on the west by some other building which has completely disappeared. M. de Laborde published a sketch1 of the theatre as it was in 1827, anti gives a short description of its ruins; Captain Conder gives an incomplete plan~ on a small scale, and describes the ruins at some length as he found them in 1881. Among the earlier illustrations of the theatre are those published by Merrill3, and Thomson 4 5 who visited "Amman between 1875 and 1880. A more recent photograph is that published by Professor Briinnow in his great work u on the Province of Arabia. “

(Text is told first hand by Howard Crosby Butler, who wrote the Syria series) 

Sources: 1, 2 ,3 

[aviationgeek71]

"Why fly? Simple. I’m not happy unless there's some room between me and the ground."

― Richard Bach, A Gift of Wings, 1974.

Photo: Beautiful old Hungarian registered aircraft is a license-built version of the Douglas DC-3. The shot was taken at Scalaria Air Challenege 2014, St. Wolfgang, Austria.

[kozlovatatiana-blog1]

Скалярия аквариумная рыбка. Scalaria aquarium fish. #Shorts

[sheltiechicago]

Sculpture Confinement

Painting Techniques meet Sculptures by Madrid artist Mercedes Vincente

The artist Mercedes Vicente took her painting technique and sculpts it improvised shapes with spiral twisted ribbons of fabric that look like whims of nature.

Sculpture Domina

Sculpture Spirula Decedens

Sculpture Discobula

Scalaria Bifurca Finalist Loewe Craft Prize 2018

[atharalikhan]

I don't mind working from here. At all. And before you ask, that's my knee. Because I like work but not THAT much. #Austria #salzburg #scalaria #wolfgangsee (at scalaria)

[devarga]

Jörg Wilken & Patrick Cameron :: #haarmania2017 thanks to all #vargahair #scalaria #jörgwilken #patrickcameron

[oneterabyteofkilobyteage]

original url http://www.geocities.com/scalaria/ last modified 2003-02-04 09:41:56

[flyplaneguy]

View this post on Instagram

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#repost @ericgoujon Alphajet rolling around the smoke-track of the Lightning-Corsair formation, over the lake Wolfgangsee, for the Scalaria airshow .. 20 July 2019... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ------------------------------------------------------------------- ✈️Follow @flyplaneguy — — — — — — 🛫 — -------------------------------------------------------------------- . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . #aviation #aviators #aviation_lovers #aviationworld #aviation4u #aviationlife #aviationphotography #instaaviation #instaplane #instaplanelovers #aglife #instaplanelovers #pilotlife #pilotview #pilotselfie #airplanemode #aircraft #airplane_lovers #avporn #avgeek #avgeekoftheweek #aviationlove #flying #cockpit #sky #loveofaviation #borntofly #instagramaviation #motivation https://www.instagram.com/p/B25IVhZgYOy/?igshid=1rbjf2se4l19p

[jfdupuis]

"Scalaria" by Jean-François Dupuis on INPRNT

[clawed-rose]

[eyes]

Rose's eye shape is downturned. She has naturally long lashed, that have gotten more flamboyant with her gangrel features. Her original eye color was a bright light blue, but that is long gone. Larger pupils that are bright yellow and reflective now have replaced them. Her scalaria are darker now. A very ruddy color. The way Rose looks at you, you cant tell if she is eye fucking you or sizing you up to eat you. Lauren Bacalls eyes and look was huge in how I pictured Rose to look.

[peterc64]

Loewe Foundation Craft Prize 2018 finalist, Mercedes Vicente from Spain, created the mesmerising architectural Scalaria Bifurca' from Canvas. #loewe #loewefoundation #loewefoundationcraftprize2018 #designmuseum #craft #architecture #blackandwhitephoto #luxveraimages (at Design Museum)