The Blood Is The Life - The Making of Dracula (by alphatreeproductions)
(Source: drunkonstephen, via andarilha)
(Source: brownriot, via madrantings)
Instrumental version of ‘The Rains of Castamere’ that played over the credits of ‘The Bear & the Maiden Fair’
(via suicideblonde)
"So the Charcoal Burner walked to Grasmere and when he got there he shouted and banged on the walls with a candlestick. Saint Oswald put his head out of Heaven and cried, “Do you have to shout so loud? I am not deaf! What do you want? And put down that candlestick! It was expensive!” During their holy and blessed lives Saint Kentigern and Saint Bridget had been a monk and a nun respectively; they were full of mild, saintly patience. But Saint Oswald had been a king and a soldier, and he was a very different sort of person."
— Susanna Clarke, “John Uskglass & the Cumbrian Charcoal Burner”
Pale Blue Dot - A photograph of Earth taken in 1990 by the Voyager 1 spacecraft from a record distance of about 3.7 billion miles
The spacecraft, which had completed its primary mission and was leaving the Solar System, was commanded by NASA to turn its camera around and take a photograph of Earth across a great expanse of space, at the request of Carl Sagan.
“Consider again that dot. That’s here. That’s home. That’s us. On it everyone you love, everyone you know, everyone you ever heard of, every human being who ever was, lived out their lives. The aggregate of our joy and suffering, thousands of confident religions, ideologies, and economic doctrines, every hunter and forager, every hero and coward, every creator and destroyer of civilization, every king and peasant, every young couple in love, every mother and father, hopeful child, inventor and explorer, every teacher of morals, every corrupt politician, every ‘superstar’, every ‘supreme leader’, every saint and sinner in the history of our species lived there – on a mote of dust suspended in a sunbeam.
To me, it underscores our responsibility to deal more kindly with one another and to preserve and cherish the pale blue dot, the only home we’ve ever known.”
—Carl Sagan
(Source: likeafieldmouse, via skovraa)
Legend (1985)
“ This place holds more magic for me than any palace in the world.”
(via aminamomina)
(Source: dragqueeneames, via vintagegal)
This is a perfect modern illustration of a symbol changing meaning or accumulating a new layer of meaning. Just as the “St. Peter’s Cross” has come to symbolize, at least for some, Satanism; the Guy Fawkes mask, for the majority of people today, is no longer associated with a Catholic plot to assassinate a Protestant King.
Looks like the Catholic Church, that master appropriator of symbols, is learning that turnabout is fair play.
(Source: cassandra996)
Cordel literature (“Literatura de Cordel” in portuguese, means “string literature”) are popular and inexpensively printed booklets common in the Northeast of Brazil. They usually contain folk novels, poems and songs, and they are sold at fairs and in the street. Cordel uses in its cover a very specific and traditional kind of xylography, and since I’ve done this kind of aesthetics for another “A Song of Ice and Fire” illustration, I decided to use the same style for a reinterpretation of the book covers.
(via waywardchangeling)
The common perception is that the great statues and buildings of ancient Greece and Rome were all pure unpainted stone or green tarnished bronze, but researchers have been arguing that this may not been what these classic monuments really looked like back in the era of their creation. That, in fact, these statues were quite alive and vibrant, full of color.
Gods in Color: Painted Sculpture of Classical Antiquity is a travelling exhibition of varying format and extent that has been shown in multiple cities worldwide. Its subject is ancient polychromy, i.e. the original, brightly painted, appearance of ancient sculpture and architecture. It features more than 20 full-size color reconstructions of Greek and Roman works, alongside 35 original statues and reliefs.
The color reconstructions are based on close examination of the originals and on scientific analysis of the scarce traces of paint remaining on them. Ultraviolet light, says Ebbinghaus, “brings out ‘paint ghosts,’ differences in the surface structure of the stone caused by different paints and by the weathering of the paints. It can often give you an idea of patterns, even if no pigments survive.” The paint on these reproductions of stone sculptures appears flat, lacking the depth of, say, oil. “We can identify the colorants—mostly minerals and some plants,” says Ebbinghaus, “but binding media are hard to identify. Egg has been used for the reconstructions. If the minerals were ground more finely, a different binding medium used, the paint polished or covered with a protective coating, the effect would be quite different.”
“We now assume that almost all Greek marble sculpture was painted,” she says. “These reconstructions can only be approximations,” but at least they dispel a popular misconception—that most statues of antiquity were plain old white. Plain would not be thought ideal until the Renaissance.
Researchers believe, particalurly Vinzenz Brinkmann who has been doing this research for the past 25 years, that artists used mineral and organic based colors and after centuries of deterioration any trace of pigment leftover when discovered, would have been taken off during any cleaning processes done before being put on display, washing the historical art clear of its true colors.
The findings of this research completley changes the commonly held modern ideas of the ancient world, and the way we view modern sculpture and art today, much of which was based on those classical Greek and Roman styles.
(Source: nowhere---kid, via blaqmercury)
