#v: main [ joseph ]

[theunconcernedembalmer]

Part 1 // Part 2 // Part 3 // Part 4 // Part 4.5 // Part 5 // Part 6 // Part 7 //

i haven't forgotten about this series just yet hopefully i'll finish it by this year. anyway this is titled "joseph is dramatic for about 20 minutes"

[gallery-piece]

i speedran this in like 30 minutes. no idea how idv's anatomy style works so its totally off. HAPPY BIRTHDAYYYY

[idv-confessions]

i'm new to idv but whenever i go into matches, it's almost always joseph as hunter and while he's super cool as a character, i find it nearly impossible to win against him ;w;

good for ppl who are great joseph mains tho, glad they're having fun!

.

[pmakuma]

01 / 13 / 24

LEAVE ME ALONE!!!!

[poetic-dumbass]

Was just fucking around on IDV. Played QM as Joseph, and got a bunch of newer survivors. I needed a win for the quest I was doing so I go after them and...

4 man kill. With 4 ciphers still left.

I was watching the English chat after bc I was bored and I see someone I played with say "Just QM'ed with a Joseph, they ate and left no crumbs"

Sir please I didn't even use the camera, and you were playing Lawyer. No Doctor on the team either. There was no way I wasn't going to.

[shinraryuu]

With Tracy’s cowardly trait, Joseph bets that she couldn’t get close to any guy ever, let alone have her face inches away from them.

Some part of what he said was right, but being a survivor taught Tracy not to give up easily. Instead of taking his challenge as it is, Tracy challenged herself to do something more (much to Joseph’s delight, of course).

[ironrot]

name.  ethel lenora cain

alias/nickname.  tbd

dob. march 4th, 1970

dod. march 4th, 1991

age. 21

familial. vera cain — mother, joseph cain — father, ethel cain — grandmother.

notable relationships. janie — best friend, willoughby tucker — ex boyfriend, logan phelps — boyfriend (deceased), isaiah abram — killer.

species.  human (verse dependent)

occupation.  sex worker (formerly)

residence.  nomadic

powers/abilities.  tba (verse dependent)

about.  tw: csa/incest, religion, death, murder, domestic abuse, drugs, trafficking, cannibalism. tba!

[rivalsunraveled]

i will stand here, right outside your door. (dickjoey?)

It's been harder than he'd like to admit, coming back to life. The memories he has to push away to enjoy the second chance. The simultaneous loss in his family and joy of gaining a sister he'd never known about. It's a lot to manage, so he needed some time alone.

"Some" time turned into staying in his room an entire night and well into the day, painting.

Joey ignored Dick initially, but after a few minutes, he washes off his brushes and opens the door. "You didn't have to wait," he signs, smiling tiredly. Joe pushes his hair out of his face, getting some paint on his cheek as he does so. "But thank you..."

[ohthejealousy]

tracy is so fun to play with, i definitely need to use her more often! i miss the times when her bot’s energy wouldn’t deplete if she wasn’t actively using it though, she was so op back then :,)

[melpcmene-a]

*Takes Josephs’ notebook and runs*

Oh no, not the shenanigans! ( always accepting the shenanigans )

"——Wait, I was using that!" And he was currently jotting something down, and then the pen skidded across the paper and soon his notebook was gone. Joseph immediately chased after this bastard. "Get back here!"

[befstronganof596293658]

Yenni Thuniga (transl. Count and dare) is a 2022 Indian Tamil-language action crime film written and directed by S.K.Vettri Selvan and Produced by Suresh Subramanian. The film was under Production House Rain Of Arrows. Entertainment.[1] The film was distributed by Krikes Cine Creations.[2] The film features Jai and Athulya Ravi in the lead roles while Vamsi Krishna was cast in as the main antagonist and Sunil Reddy also appears in a negative role as a politician. The film's music is composed by Sam CS with cinematography handled by J. B. Dinesh Kumar and editing done by V. J. Sabu Joseph. The film was released theatrically on 4 August 2022.[3]

Plot

This article needs an improved plot summary. Please help improve the plot summary.(August 2022) (Learn how and when to remove this template message)

After a heist job by Madhan and gang to rob a precious cargo became a mess, he is under pressure to deliver the loot to the overlords. Things begin to get complicated when Kathir appears and disrupts Madhan’s plan and reveals what happened that day.

Cast

Jai as Kathir

Athulya Ravi as Narmada

Anjali Nair as a victim's wife

Vamsi Krishna as Madhan

Vidya Pradeep as Teja

Marimuthu as Kathir's father

Sunil Reddy as 'Needhi' Manikkam

Kuraishi as Saravanan

Munnar Ramesh

Abhishek Shankar as Doctor

Suresh Subramanian as Sam

Kimberly Ziler as Naomi

Maurice Johnson as Joe

Jayce Venditti as Gabe

[florxdexcerezos]

He laughed again. "This was not my own creation I assure you. Only the picture is mine." Still, he appreciated the misattributed credit. Joseph shook her hand, and turned his head to better hear her. "I'll be sure to stop by should I fancy a snack for the road. Lovely chatting with you Miss Alejandra." He dipped his head in sign off and watched her walk off. When she disappeared amongst the patrons, he finally stopped.

Without his camera, he felt naked, especially as he caught the eye of other ladies at the gala. Oh god. He just wanted to get back to his desk. Avoiding direct eye contact with anyone, he felt around the pockets in his suit jacket for his vibrating phone. Ananas . It must have been early hours in the morning for her, she should be in bed. Finding an exit out of the room to find somewhere private he took her call.

With Anna off to bed as directed, Joseph decided to call it quits. He decided to try his luck with Adan in the kitchen. In exchange for food, he asked for Adan to pass a message of congratulations and thanks to his cousin. He also thanked and offered to tip the gentleman. Not taking no for answer, he left $20 on a counter and wandering off before it could be handed back.

Time to crawl back into his hidey hole.

Alejandra wanted nothing more than to skirt the responsibility of talking to someone who didn’t understand why she did this, just donated because it was a big tax payoff, to continue talking with Joseph. Someone who she was actually enjoying talking to. But she did need the donations to keep things going.

Smiling, she reached out for his card. ❝ Que lindo! I'm going to need you to design my business card too! This is art. ❞ The fact that he was going to set some of his favorite snacks aside for her to try made her smile even wider. She was used to people wanting to talk to her just to get her number or expect something out of her. Having someone actually promise her something besides a 'good time' was nice. ❝ It was wonderful talking with you, Joseph.❞ She held out her free hand to shake his. ❝ And I look forward to seeing you at our other events, where I will definitely ask for that Lucozade. ❝ If you talk with my cousin Adan in the kitchen, he can give you some stuff to go if you like.❞ She leaned in closer to say under her breath. ❝ These people spare no expense to the food but tend to not eat it, so we usually give it away at the end of the night.❞ Pulling back, she smiled at him one more time. ❝Hope you enjoy the rest of the night.❞ Then went off to talk to more donors.

[vincentbriggs]

Hello! Transfem person here. I haven't started HRT yet, but want to procure a 1730s menswear suit (actually decided based on your video). I would prefer not to wait for it if possible, since I don't know when HRT is going to be possible. I am, however, a little concerned about my bust size changing and affecting the fit of the waistcoat. Is that decade usually pretty forgiving in it's tailoring? I am also considering having the upper back tie like some later waistcoats to accommodate if necessary (even if it's not entirely historical), but I figured I would ask you.

Thank you!

Hello! Ooh yay! Not enough people do early 18th century, so I'm delighted to hear that! (Link to the 1730's suit mentioned.)

I think the fit would be affected, yeah. The sides of the waistcoat are easy enough to let out (and we have extant examples of waistcoats with an extra strip of fabric added into the side seam) but the curve of the front is pretty important to how it sits on you. But then, it is fashionable in that era to leave quite a lot of the top portion unbuttoned, so maaaybe you could get away with it not fitting as well, depending on what changed and how much?

Regarding the adjustability of waistcoats, some of the earlier ones actually do have lacing in the back! This red one is an especially nice example, and it's separate all the way to the top.

(c. 1740's, V&A) (Though you also do see ones with the back hacked up and a bunch of ties that were likely added by Victorians for their fancy dress parties.)

The breeches also have adjustable waistbands, of course, so I think the hardest part to alter would be the coat. The back vent is edge to edge, so there's no overlap to sneak a bit more width out of, and letting out the side seams would require re-doing those massive pleats, which were the part I found the most difficult when making my coat. But fortunately those coats were worn open a lot of the time, so even if they're not quite right when buttoned, they should still look ok unbuttoned.

It's very difficult to predict how the fit will be affected, since HRT is different for everyone and things keep changing years down the line. (One comment on this post talks about suddenly getting more breast and hip growth after 7, 12, and 14 years.)

I only have experience from the transmasc side of things, and alas, I very much did outgrow all my old waistcoats and coats. My 1730's suit needs alterations, because the waistcoat is a bit too small, and the coat seams could use a bit of letting out too. (I made those the year after top surgery, but my ribcage kept expanding and my posture improving for quite a while.)

I've been putting it off because alterations are boring :/ My pre-top surgery waistcoats are all way too small across the chest even though material was removed, because my posture was kinda bad and I didn't even notice it, and I expect that the opposite could also lead to the same sort of better posture from more confidence & comfort.

But bodies keep changing forever anyways, even without transitioning. Plenty of cis people can't fit into the things they sewed when they were younger, so we may as well make things to fit us now. Perhaps you could make the suit now, but use a not-too-expensive fabric, and then maybe alter it later, or make a newer and better one with the experience you gained from the first one!

Also I know you specifically said menswear suit, but I want to add the fun fact that women's riding habits in this era looked extremely similar to men's suits!

(Left: Maria Amalia von Habsburg by Franz Joseph Winter, right: Member of the Van der Mersch Family by Cornelis Troost.)

As far as I can tell, the main differences are that the riding habits have a petticoat instead of breeches, and are made to fit over stays.

(Empress Elisabeth Christine in riding costume, unknown artist.)

So similar, in fact, that this portrait of a young lady in a riding habit was misidentified as a young man!

Most of the petticoat is out of frame, but you can still see that it's not beeches, and the stays shape is pretty obvious. Very silly of Sotheby's not to notice!

I have no idea if you're interested in wearing a riding habit, and I'm not sure how difficult it would be to alter the somewhat looser men's coat to fit over stays, but thought I ought to mention it.

[gothic-thoughts]

Under Her Influence

(Jojo one chance plz, I swear 😩😊)

Joseph Joestar x Black Fem Reader Smut

MDNI, Best Friend's SisterAU, RoommatesAU, Enemies2LoversAU

CW: Caesar's younger sis (adopted ig cuz like 🤷🏾‍♀️), afab parts mentioned, she/her pronouns, secret relationship, male and fem masturbating, voyeurism, quiet/secret sex, eating 😻, P in V smashing, unprotected smashing

TW: Jojo's britshness (he's so cute wtf 😍)

Word Count: 1961 (give or take)

I had a little crush on Caesar's sister, (Y/n) since we met, but of course, before I could speak, the bastard threatened me about even trying. My love for her only grew when she moved in, but I was always side-eyed by Caesar for even making her laugh. Then outta nowhere, she started to avoid me for no reason! Even going as far as to ignore me when I spoke!

When (Y/n) was out of the house, I stormed up to Caesar's room and knocked on the door heavily. I wait for him to open it with a scowl on my face and my arms folded in front of my chest, ready to confront him. I just know he spread rumors about me! And I can't ask her cuz she'll just ignore me! As I raise my fist to pound on the door again, the blonde Italian opens the door with his arms crossed with an unimpressed expression.

“What is it, Jojo?” He asked, leaning on the doorway.

I poke him in the chest, “What the hell did you say to (Y/n) to make her hate me so much, you pompous prick?!”

“What are you talking about?!”

“You know exactly what I’m talking about! (Y/n)’s been ignoring me and treating me like trash outta nowhere for days!”

“Heh, maybe she’s finally seeing what I see; nothing but an annoying idiot.”

“So you did say something!” I grab his shirt, pulling him close, “You son of a bitch, you’re ruining my chances!”

“I knew this was about that!” He angrily pushes me away, “Didn’t I tell you to stay away from my sister!?”

“Well, it’s kinda hard to do that when we live in the same house, you dunce! And besides, she’s a grown woman; you can’t control who she likes!”

“I can if it’s you! I don’t want her anywhere near you!”

I groan and punch the wall, “And who are you to say that; you may be her brother, but not her father!”

“I’m the one protecting my baby sister from a broken heart after a useless 6-month fling with an idiot like you! So forget it, Jojo."

“Fling?! Dammit, Caesar, I wouldn't be acting like this for some stupid affair!"

"This is my last warning!"

He steps back and slams the door in my face leaving me in the hallway to groan loudly and angrily before punching the wall beside the door.

"I just want to talk to her! Is that so wrong to get to properly know my other roommate?!”

No response. Groaning, I punch the wall as lightly as I can despite my anger so I don’t give myself a new problem to deal with later. Ugh, I get that (Y/n)’s his only sister, but this is ridiculous! It's not fair to me! Or her! With one last loud groan, I storm downstairs and leave the house with a slam of the front door.

------------------------------------------------------------------------------------------------------------------------------------------------------

I only came home from the bar soaking wet from the rain became hard, I arrived home from the bar a little drunk and still pissed at the argument earlier. I liked it better when she would try not to giggle at my flirts. I open the front door and go, inside striding up the main stairs to my bedroom as the house creaks from the storm. 

Ugh! Maybe if that bastard hadn’t banned me from talking to her, my feelings wouldn’t have gotten stronger! Stupid ass... I shuffle past Caesar’s room and grab my door handle, only to hear soft gasps of my name from behind me between the rumbles of thunder. Was that...? I hold my breath, listening for the hushed sounds again. Is she alright?

“Jojo~”

“(Y/n)?” I push the door open slightly, “Is every—?”  

My breathing caught in my throat, eyes widening at (Y/n)'s contorted face through the small space between the door and the frame. Those lovely dark eyes squeezed shut, those legs parted and trembling to keep her underwear at her knees while her fingers thrust in and out at knuckle depth. Her top was pulled up to her chest, leaving her big breasts on display while she gently twists and tugs on her hardened nipples.

...Oh...my...god... 

I couldn't move—I just stood there in shocked silence as she fought for her orgasm, feverish movements begging me for help, causing my pants to grow tighter and tighter thanks to the adrenaline and alcohol rushing through my veins. Goddamn, she....looks so nice... (Y/n)'s eyes fluttered open for a second, and it was too late to leave. 

She yanks her hand from between her legs with a loud gasp as her skin dawns an undertone of deep red as her knees snap shut, allowing her underwear to loosely slide down to her ankles. Shit, shit, shit, how am I gonna explain this?! And why was that so hot?

"Jojo, what the hell?!" She snapped, still heaving slightly, "Were you spying on me, you pervert?!

I stammer. "Perv?! Me?!"

"What the hell are you doing here?!"

"You were calling me! I thought you-- you...were...."

I pause, refocusing my attention on how I found her: moaning my name while she battled desperately for her climax. The moment replayed over and over in my head until I smirked a little and began ogling knowingly.

"You were calling my name." I tease, "One may even say you were moaning it."

"No, I wasn’t. I was...”

“Let me guess..." I step into the room before lightly kicking her door shut, "You were just trying to 'relax' after work?”

"Shut up! You're not even supposed to be home; Caesar said you were out for the rest of the night!"

“Well, I would be if it wasn’t raining cats and dogs."

"Tch." 

"Anyway, what'd he tell you about me that was so bad? Cuz, uh, I get the feeling none of it was true."

"Yeah, right."

"Well, honestly, it depends on what he said, but I bet it was just some bullshit just to get you to hate me. But I guess it didn't stop you from having moments like...this. But hey, don't stop on my account.”

"Wha--"

"You heard me. You've obviously had a long day so....continue."

I could practically hear her heart hammering on her ribcage, but I couldn't help but continue to stare at her body, wondering what she was imagining me doing to her. After the longest 30 seconds ever, (Y/n) finally looks at me, her gaze trailing up and down my body, most likely noticing the bulge in my pants before curling a finger to gesture me over.

I take slow steps to give her time to speak out and protest but manage to get to the foot of her bed without our eye contact breaking. My gaze moves down to observe the way her thighs shivered from her incomplete climax. The sight makes me moan softly as I grab her ankle and drag her to the edge, watching her thighs separate as her hand slowly slips back to her shiny clit.

"Mmh, you look as delicious as you sound." I groan, caressing her soft thigh, “C’mon, touch yourself to me like you were...before I do.”

She strokes it in small circles, fingers swirling her sensitive bud until she shivers, plush thighs tensing in front of me. I kneel at the edge of the bed for a closer look at how her opening twitches around nothing, pouring her juices down her butt to the bedsheets. Fuck, I want it. I want her. I...I... I undo my pants, letting my girth spring free before wrapping my fingers around it tightly.

"Ngh, Jojo."

"Don't call me like that, (Y/n)." I groan, stroking faster, "You're gonna drive me nuts."

Her hand stops and she smirks down at me, "You're already down there, aren't you?"

I instantly latch my mouth onto her rosebud, causing (Y/n)'s head to drop back into the mattress while she plays with my hair. Mewls and whimpers leave her lips along with my own moans as my tongue wiggles past her folds. I grab her thighs and hold her open for me while I slurp and lick until a mixture of slick and spit coated my lips and chin.

I reluctantly pull my tongue from her and stand, licking her essence from my lips with a devious smirk before slowly pushing my cock into her, groaning in disbelief at the snugness. I press my hands into the bed, plowing my body between her thighs to keep them open to my harsh strokes. Her nails sink into my shoulders and her teeth into her lip as my pace grows harder.

"~ah, my god." She gasps, "Holy shit~"

"Shhh, we still gotta be quiet."

"You're not ~ngh, making it easy."

"I know." I let out a breathless giggle, speeding up my hips, "You just feel so good, I-I can't.”

"Y-yes, oh my god~"

Moaning, I grip the sheets at the way she squeezes around me. I swirl my hips as I drive a little deeper, her hands tugging on my shirt while her legs wobble from the weight of me hammering against her cervix. 

"Oh my god~" She groans, legs wrapping around me, "You're gonna make me loud, J-Jojo."

"Heh, I knew you couldn't hate me; how could you when I'm so funny?"

"He talks s-so much shit about you, ngh, it's like a hobby."

"I don't care what that meathead thinks; I just care what his sister thinks."

Her legs pull me closer while her back arches under me with every drag along her sweet spots as her orgasm rushes through her. Her climax made her even wetter, turning the sound of every stroke into her inviting pussy into a soft squelch. Pure carnal need boils in my stomach at the feeling of her juices squelching out of her as I cover her mouth and start pounding into her with reckless abandon.

"Oh...sh-shit~" I moan, "Goddammit, you feel s-so...good."

"Don't stop, hah, baby, please. Jojo, please"

"You keep talking like that and I won't. Heh, your brother...would absolutely....kill me~"

My hips stutter out of rhythm as I huff out breathless groans every time my hips move before quickly pulling out despite the warmth. I stroke myself until warm seed shoots along her pelvis and stomach while I grunt out curses, hips jerking forward with each one. I press my clean hand into the mattress next to her side to catch myself.

"This don't have to be the only time we do this."

"I sure hope so, I've been wanting a normal conversation with you since you got here."

She chuckles, "So it's not just about you wanting to sleep with me?"

"It's not, even when it is." I laugh, "I just want to be close to you, and if this is the only way I can do it then...."

"We can be close another way."

"Closer than what we did? How's--"

She pulls me down by the collar of my shirt and hotly links her lips with mine. I moan in surprise, eyes widened before they flutter shut as her other hand slides up my chest to my shoulders. I take my turn to surprise then surprise her by slipping my tongue into her mouth, making her moan under me again. She tries to pull my body closer but I pull away with a giggle, breaking our forbidden kiss. Our eyes open while we pant heavily on each other's swollen, reddened lips.

"Sorry.” I whisper, “As much as I'd love to be pressed against your breasts again, we should get cleaned up before....uh.."

[thegoldensanctuary]

Part V the 1701 Winter Set(N⁰ 1881) :

The first entry of a new set of furniture for the brand-new bedchamber dates to November 1701, with the delivery by Lallié of a set made of richly embroidered crimson velvet. This set included three armchairs, twelve folding stools, two cushions used as footrests, a table covered by a cloth, and one fireplace screen, intended for use as winter decor [67]. It was assigned number 1881, which allows us to trace this set across time. Indeed, number 1881 reappears in the 1751 [68] inventory, then in the 1765 inventory [69], the 1776 [70] inventory, and finally in the 1785 inventory [71], before being mentioned one last time in 1785 on the occasion of its destruction [72], after 84 years of use. Despite its new inventory number, it was actually an update of an older velvet set, number 1504, originally delivered in April 1692 and mostly crafted at Saint-Cyr, as explained at the beginning of the November 1701 Garde-Meuble entry [73]. In later parts of the description, it is noted that the enhancement of the original embroidery took place at St. Joseph and was done by Mr. Cheury, probably following Lallié's instructions. In 1765, the set was further embellished, with Capin restoring the velvet [74] and Foliot adding a newly sculpted canopy top to the bed (see Part IX). This restoration resulted in several work reports that provide additional insights into the set.

4.1 The Velvet and Tapestry

As previously mentioned, the velvet used was based on an earlier delivery from 1692, which entered the Garde-Meuble in April 1692 under number 1504 and was described as:

“Grand set of crimson red velvet embroidered with a strong gold embroidery” [75].

While the rest of the entry mentions a canopy bed, two armchairs, twelve folding stools, and two footrest cushions, no reference to an alcove tapestry appears.

Interestingly, when Lallié delivered the updated version of the velvet in November 1701 for the King’s Bedchamber under number 1881, there was still no mention of an alcove tapestry [76]. Later, in September 1705, a new tapestry for the King’s bedchamber entered the Garde-Meuble under number 1989 [77].

The tapestry was said to have been made by Lebegne and consisted of two parts, each made up of eight pieces. This alcove tapestry would become the definitive one for the winter set, as tapestry 1989 and set 1881 are found together in various inventories from both the reigns of Louis XV and Louis XVI [78].

While the 1751 inventory is extremely vague, mentioning only “two pieces of crimson velvet tapestries” [79], the 1765 and 1785 inventories (which contain identical descriptions) provide a bit more detail: “two pieces of crimson velvet tapestries, 12 ft 4 in high, garnished at the top and bottom with gold fringes, with red canvas lining” [80].

One thing to emphasize about the alcove tapestry is its relative simplicity compared to the rest of the set. While set 1881 is described as a “rich velvet […] embroidered with gold,” no mention of gold embroidery appears in descriptions of alcove tapestry 1989. This lack of embroidery may have been balanced by the presence of the two alcove paintings that accompanied the winter decor. Furthermore, the tapestry is later listed under the velvet chapter of the 1752 inventory [81], while the richly embroidered furniture of set 1881 appears in the embroidery chapter [82].

4.2 The Bed

The main element of set 1881 was its state bed, with impressive dimensions (7 ft 4 in wide, 7 ft 8 in long, and 12 ft 3 in tall), a symbol of the monarch even more so than the throne itself. Its components were as follows:

The Headboard: Described as “very rich” without further detail. The later parts of the 1701 Garde-Meuble entry specify that, unlike many pieces in the set, it was entirely made from scratch and did not incorporate elements from set 1504 [83]. Two contemporary depictions of the bed with its headboard exist, allowing a better visualization of the piece, while depictions of the king’s bed from other residences can also provide a more complete picture.More details on the headboard appear in various reports from the 1765 restoration, though some alterations might have occurred at that time, potentially differing from its original 1701 state.Capin described the headboard in his 1765 work report as having the same type of embroidery as the headcloth, adorned with tinsel [clinquant]. He later specifies that “[the headboard is] adjusted in its wooden frame lined with cloth, garnished by its platband, assembled and tightly held in place [dressé avec grande sujession]” [84].Chasblier, who worked on the embroidery in 1765, described his work on the headboard as follows: “The headboard […] reembroidered, with tinsels and flourish [cliquant et fioritures], outlined [liseré] with gold lace” [85].The headboard does not appear in Bardon’s report, who restored the gilding of the set in 1765, possibly indicating that, even at that time, the headboard’s wooden frame was entirely covered by gold-embroidered cloth, with no gilding applied directly to the wood [86].

The Headcloth: The 1701 description merely acknowledges its presence [87], likely reusing the one from set 1504 [88]. In both instances, the Garde-Meuble entries contain no further details on the headcloth's ornamentation. However, the depiction of the bedchamber shown in fig. 19 includes a headcloth with large embroidery in its center.Capin’s 1765 report describes it as being made of crimson velvet (like the rest of the set) with embroidery matching that found on the headboard [89].Chasblier’s report aligns with Capin’s observation: “9 ft tall headcloth, entirely disassembled and reembroidered, with tinsels and flourish [cliquant et fioritures], outlined [liseré] with gold lace, and placed on a brand-new velvet cloth” [90].

The Valences: Their 1692 description goes no further than mentioning three outer valences and four inner ones, but the 1701 Garde-Meuble entry provides more detail, referring to them as “campanes” [91]. They were lined with taffeta, gold moire, and outlined with crimson red chenilles. This style of valence is consistent with the iconography of royal beds during the later years of the Sun King’s reign. The end of the 1701 entry clarifies their origin: they were brand new and not reused from the 1692 set [92]. It should be noted that campane-style ornaments became increasingly popular at that time and were not limited to canopy valences (see fig. 37).Descriptions of the valences from the 1765 reports are less relevant for discussing the room’s state during Louis XIV’s reign. As Chasblier explained, the new embroidery was entirely remade to match the newly added sculpted canopy [93].

The Bases: Described in 1701 as similar to the valences, with campane ornaments [94].

The Curtains: The 1701 entry mentions four curtains, two bonne graces, and four cantonières. Besides acknowledging their presence, the Garde-Meuble provides no specific details about their appearance. However, it does provide a few details about the lining of the bonne graces and cantonières, which were “red and gold brocade with fleur-de-lys” [95]. The same fabric was used around the bed columns, with the brocade in question being part of brocades 118, 130, and 101, which entered the Garde-Meuble in the late 1680s [96].

The Quilt: While previous descriptions are vague about the motifs in the velvet’s ornamentation, the quilt may offer more insight into the entire set. The 1701 entry specifies that it was “garnished […] with a braid of gold bouquets [bouquetterie], just like the one around the canopy [de meme qu’au tour de l’Imperial]” [97].Capin and Chasblier’s descriptions are consistent with previous reports, mentioning “tinsels and flourish,” though the report by the L’Heritier brothers, suppliers of silk and embroidery, adds additional key insights.

“26th September, following the order from the 8th to regarnish the square of the quilt from the King’s winter bed in the palace of Versailles.

9 aune 4 of gold braid from Paris, richly embroidered and garnished with sequins […] very rich, two inches wide […]

6 aune 4 of gold braid from Paris, two inches wide […]

16 pointy florets of Spain from Paris, with tinsel made of cloth to garnish two valances […]

17 aune of gold embroidery from Paris featuring festoons […]” [98].

These details add a more floral dimension to the previously opaque description of the embroidered ornaments on the velvet.

The Case Curtain: Made of 18 pieces of crimson gros de tours sewn together, with large and medium-sized gold fringes at the bottom and edges, hanging from a golden rod [99].

The Vases/Finials: Four in total (one at each corner), described in 1701 as “covered in said velvet and garnished with leaves of gold embroidery, with ornaments of bouquets [bouquetterie] and small gold braids” [100]. This description is reminiscent of the floral motifs mentioned on the quilt.Each finial was topped with a feather bouquet containing 138 large ostrich feathers and 34 narrower upper feathers [aigrettes] in total.

4.3 The Armchairs and stools

When set 1504 was delivered in 1692, two tall armchairs were included, featuring campane cloth ornaments around the bottom rest [101].

In November 1701, when Lallie sent the updated version of the set under number 1881, the armchairs were described alongside the twelve folding stools: “the three armchairs and twelve folding stools of said velvet with embroidery and campanes of embroidery like those of the bed, with slipcovers made of gros de Tours […], the wood sculpted and gilded.” One additional armchair was thus included in the new delivery, and it is also possible that the wooden structure of the armchairs was further embellished, as the wood is now described as “sculpted and gilded” [102].

The campane used to adorn the added armchair came not only from set 1504 but also from set 1505, as explained later in the entry.

Several details regarding the armchairs and stools of set 1881 are mentioned in reports from the 1765 restoration. Capin’s report specifies, however, that these changes were made “by augmentation” [103] and should thus be seen as enhancements not entirely faithful to their original state.

Although the 1751 inventory [104] mentions three armchairs from set 1881 used in winter, the 1765 inventory only refers to two, possibly because the third armchair was not fully ready when the inventory was approved.

4.4 The fire screen

Set 1504 from 1692 did not contain any fire screen, so its mention in set 1881 was a brand-new addition. The Garde-Meuble entry from November 1701 describes it as follows:

“The screen of said velvet and of different gold embroideries, depicting on one side [the god] Mercury and on the other side fleurets, the whole surrounded by an embroidery braid, and a large gold braid serving as clover, with wood sculpted and gilded” [105].

Later in the entry, we learn that the red velvet depicting Mercury used on one side of the screen came from an earlier delivery in May 1689. We also find that the other side of the screen, featuring the fleurets ornaments, used velvet from two stools belonging to set 1505, delivered in 1692 as an addition to set 1504 [106]. This confirms that the theme of the ornamentation on the velvet was primarily floral, as already suggested in the descriptions of the quilt and the canopy vases.

The first mention of this Mercury embroidery used on one side of the screen appears indeed on the 12th of May, 1689, where the Garde-Meuble diary notes:

“Monsieur Tourolle from Versailles received a piece of gold embroidery measuring 2 ft 10 inches tall by 2 ft 7 inches wide, which Madame de Montespan ordered from St. Joseph for the King, featuring on one side of the screen a winged figure standing and holding in one hand a laurel crown and in the other the attributes of the god Mercury, with one foot over a globe placed on a terrace and enclosed by a border of gold embroidery with leafage […] on a crimson velvet background” [107].

4.5 The Curtains

When delivered in 1701, set 1881 did not include any curtains for the bedchamber. The first mention of curtains used alongside this winter furnishing comes from the 1740 Versailles inventory [108], which lists three curtains made of crimson gros de Tours, “used both in winter and summer,” with inventory number 2202. These three curtains can be traced back to a delivery from May 1723 [109], the same date when Louis XV received a brand-new summer set for his bedchamber (see Part 8).

It would be implausible to imagine that King Louis XIV would have spent 14 winters in this bedchamber without ever needing curtains for the windows, whose primary function was to provide additional insulation, especially during cold nights. Thus, it would be reasonable to infer that the three curtains of red taffeta (each in three pieces) mentioned in the 1708 inventory alongside summer set 137 [110] were also used with the winter set, as the red color would have complemented the crimson velvet of the winter set far better than the silver and green of the summer counterpart.

The 1708 inventory also mentions three additional curtains of white damask used for each of the attic windows. Although no inventory number appears in the margin, their description and quantity seem similar to the three small damask curtains delivered in April 1702 under number 1883 [111].

In February of that year, the King ordered the installation of a pulley mechanism to facilitate the closing of the attic curtains [112].

4.6 The Tablecloth

Just like the fireplace screen, the tablecloth was first introduced with set 1881. It was made of the same crimson velvet with gold embroidery and campane ornaments at the bottom. All the pieces used in its construction were brand new, including the campane bottom ornaments, which were created from scratch [113].

The tablecloth is mentioned in the 1751 inventory [114] but is absent from the 1765 inventory [115]. Later inventories from 1775 [116] and 1785 [117] also do not mention it.

4.8 The Footrest Cushions

Two footrest cushions (one for each armchair) were included in the 1692 delivery of set 1504, though the description clearly states that, unlike the rest of the furniture, the velvet on the footrests was not embroidered [118]. In 1701, with the delivery of set 1881, their number remained the same, despite the addition of a third armchair. This detail offers insight into the purpose of the third armchair: as shown in fig. 17, the two armchairs were intended to be placed in the alcove on either side of the bed, while the third may have been used in front of a table (the one covered by the tablecloth) and thus may not have required a footrest.

The 1701 description notes that the footrests were finally embroidered: “of velvet and embroidery garnished around with a braid of gold bouquet with tassels at the corners” [119].

In 1765, Capin describes them as having campane ornaments all around, a detail not included in the previous description [120].

The Portieres Tapestry

When set 1881 was delivered in 1701, it did not include any tapestry for the doors. However, as early as 1703, Félibien mentions the presence of golden tapestries representing the four seasons [121]. The first detailed description of these tapestries in the bedchamber appears in the 1740 inventory [122], which notes that the doors were covered with portiere tapestries representing the four seasons, assigned inventory number 120, and describes them as follows:

“Four rich portiere tapestries of silk and wool, with added gold and silver, designed by Audran and made at the Gobelins manufacture, depicting the four seasons of the year under a portico on a gold background, represented by the figures of Venus, Ceres, Bacchus, and Saturn, surrounded on different backgrounds by garlands, festoons of flowers, birds, and animals, with signs and attributes appropriate for each season. The borders are blue with a bronze-colored mosaic and added gold, with small floral palms in the corners. Each measures two ells and 1/6 wide and three ells tall” [123].

The seasons were a recurring theme in the royal collection tapestries. Besides inventory number 120, numerous other season-themed tapestries are listed among the royal collections. In fact, as early as 1677, the Nouveau Mercure Galant mentions season-themed tapestries used by the Crown [124]. Therefore, it would be reasonable to assume that the use of these tapestries alongside set 1881 predated 1740 and might indeed have been in place from the very beginning.

Several tapestries representing the seasons from the French royal collections remain in both public and private collections to this day.

[67] AN O1/3307

[68] AN O1/3454

[69] AN O1/3451

[70] AN O1/3457

[71] AN O1/3469

[72] See Part 10.2

[73] AN O1/3307 f⁰ 447 r⁰

[74] AN O1/3617

[75] AN O1/3307 f⁰ 439 v⁰

[76] Ibid

[77] AN O1/3308 f⁰ 14 r⁰

[78] AN O1/3453; AN O1/3454; AN O1/3451; AN O1/3459; AN O1/3469

[79] AN O1/3454 p.

[80] AN O1/3451; AN O1/3469

[81] AN O1/3446 p. 577

[82] Ibid p. 382-384

[83] AN O1/3307 f⁰ 447 r⁰

[84] AN O1/3617, Capin’s work report p.

[85] Ibid, Chasblier’s work report

[86] AN O1/3617, Chasblier’s work report

[87] AN O1/3307 f⁰ 439 v⁰

[88] AN O1/3306 f⁰ 202 v⁰

[89] Ibid, Capin’s work report p. 106

[90] Ibid, Chasblier’s work report

[91] AN O1/3307 f⁰ 440 r⁰

[92] Ibid f⁰ 441 r⁰

[93] AN O1/3617, Chasblier’s work report

[94] AN O1/3307 f⁰ 440 r⁰

[95] Ibid f⁰ 441 v⁰

[96] The 118 was delivered by Charlier on the 2nd of September 1688 (AN O1/3306 f⁰ 98 v⁰); the 130 delivered the next year.

[97] AN O1/3617, Chasblier’s work report

[98] Ibid, L’Heritier’s work report

[99] AN O1/3307 f⁰ 440 r⁰

[100] Ibid

[101] AN O1/3306 f⁰ 202 v⁰

[102] AN O1/3307 f⁰ 440 r⁰

[103] AN O1/3617, Capin’s work report p.

[104] AN O1/3454

[105] AN O1/3307 f⁰ 440 v⁰

[106] Ibid f⁰ 441 r⁰

[107] AN O1/3306 f⁰ 120 v⁰, the mention in the margin that the piece of embroidery was used for set 1881 clarifies any doubts regarding the connection between that entry and the fire screen of 1701.

[108] AN O1/3453

[109] AN O1/3309 f⁰ 353 v⁰

[110] AN O1/3445 f⁰ 4

[111] AN O1/3307 f⁰ 449 v⁰

[112] AN O1/1474 f⁰ 91 r⁰

[113] AN O1/3307 f⁰ 441 r⁰

[114] AN O1/3454 p. 2

[115] AN O1/3451 p. 8

[116] AN O1/3459

[117] AN O1/3461

[118] AN O1/3306 f⁰ 202 v⁰

[119] AN O1/3307 f⁰ 440 v⁰

[120] AN O1/3617, Capin’s work report p. 107

[121] Felibien, Description sommaire de Versailles ancienne et nouvelle. Avec des figures, 1703, p.344

[122] AN O1/3453 f⁰ 3

[123] AN O1/3345 f⁰ 113 v⁰-114 r⁰

[124] Le Nouveau Mercure Galant, juillet 1677, V, p. 68-73.

[stilledlife]

"no, no—i believe we have everything we need here," stefano interjects, backing away from the mannequin to take a long look at it himself, holding his hands up to make a photo frame.

personally, he doesn't want to waste the time looking for clues he thinks (knows) aren't there.

"you already placed the stone, so i think all that is left is posing her correctly and giving her the right flowers." if the statement is phrased in such a way that it's light, simple enough, perhaps joseph won't prod too hard at what follows it.

he moves towards the mannequin again, adjusting her pose with a hand on one shoulder, leaning her torso slightly forwards; moving on to changing the position of the arms so the hands are turned inwards, close together, getting it ready to hold something. his movements are quick, sure of himself, but with a gentle pressure, as if the mannequin is a living thing.

with that prepared, he walks over to the flowers, pretending to deliberate for a moment before plucking the bouquet and carrying it back to the model. he meticulously settles her hands around the stems, attention even on how one hand sits on top of the other. stefano takes a step back for a moment to observe his work, before returning to adjust her arms slightly.

there is another loud click, but nothing happens.

stefano deflates slightly with a sigh, putting a hand to his forehead. "of course. there's something else." there would be one more thing whoever designed this mockery would expect him to do.

"now, listen to me." he directs his words to joseph, looking over at him. "this is going to look...strange. but you have to trust me. all right?"

he doesn't wait for an answer, lest the impulse for what he's about to do next leaves him entirely, before stepping behind the mannequin and putting a hand on either side of its head.

in a series of brusque motions, he snaps the head to the side. crack. then forwards. crack. the sounds of the neck joint straining break the silence of the room. then, when he lifts the head back toward him, he's able to lift it smoothly away from the neck entirely.

click.

with that, a panel in the wall behind him shifts, sliding away to reveal a dark, narrow passageway.

"there. easy. problem solved," he says, as if he was not still holding a head in his hands.

joseph follows stefano into the room, immediately noting the difference in atmosphere. stefano notices it too — or something, joseph observes as the other man freezes, however briefly. it's a passive thing, and the former detective lets the moment go without addressing it.

besides the atmosphere being different, the room is strikingly similar to the others in its artificiality; the curtains painted on the wall stick out as rushed, the red of the paint slightly too vibrant for what he can only assume is the desired effect.

the roses, too, he notices as he approaches the three vases, are fake. they're nice fakes (silk?), but fakes nonetheless. "besides that, what else are we supposed to do?" joseph asks as he turns to face the mannequin. stefano is right about the emerald, that much seems certain — the size and shape are an exact match, he's fairly certain as he crosses the small room and pulls the gem from his pocket.

that certainty is confirmed as the emerald slots into place with a click that's slightly too loud for stone on wood.

silence settles as joseph's eyes bore into the mannequin, like staring at it hard enough will make it reveal its secrets. but, of course, it's just a mannequin. "hmm." he paces away from the wooden figure, flipping open the notebook. "seven is a weird number of roses," he thinks aloud, quickly jotting down 'roses: 1 / 3 / 7' for future reference. "bouquets are usually in full or half dozens." it certainly makes that number stick out more than the others, but that isn't a definitive answer and could be a misdirection altogether.

"but that doesn't tell us what to do with them, even if that's right." talking to himself, he writes down a quick note about the contents of this room by the door on his hastily-drawn map and closes the notebook. "there are two more doors we haven't checked," he says, now speaking directly to stefano. "if we're lucky, they'll be open and we might find more clues. maybe we missed something by passing them by."