Latest Posts by cacciatricediartemide - Page 6

Isn’t it scary knowing that any time can be the last time you talk to someone? Always keep that in mind.

(via leohearts)

For those who couldn’t find the words for it

Shamshir, 19th Century

This is a wonderful example of an Indo Persian Scimitar Shamshir Sword which dates from the mid to late 19th Century. It is mounted with a nice curved blade that measures 27 ½ inches in length. The blade although shows to have received multiple cleanings from over the years reflecting old pitting scars, all of the gorgeous gold inlay remains beautifully present on either side just next to the guard.  The fabulous multi faceted mother of pearl hilt has also survived in excellent condition with only a couple of hairline cracks in a couple of the panels, nevertheless overall remains very sturdy in its condition and with all the gold pins and rivets still securely in place. The crossguard has darkly patined with age but also continues to wear most of its original gold inlay as well. The wooden scabbard has been recovered with fresh fabric in recent years, however the original beautiful gold inlaid fittings are all present and remain lovely in their condition. Overall measuring 36 3/8 inches in length.

Yūsha Yoshihiko to Maō no Shiro (勇者ヨシヒコと魔王の城, lit. “The Hero Yoshihiko and the Demon King’s Castle”)

Napoleonic France’s wireless communication network— The Semaphore Line

Before the telegraph fast traveling communication was quite difficult, especially over long distances.  The most common way of communicating over long distances was by courier, such as a fast pony or ship.  This method could take weeks, months, or perhaps even years.  Some ingenious peoples had the idea of using smoke signals, torches, and flag signals for faster communication.  In 1792 a Frenchman named Claude Chappe invented the Semaphore Telegraph.  The Semaphore Telegraph consisted of a series of towers placed over a certain distance which would communicate to each other visual coded messages.  Each semaphore tower had a fixture with black movable arms which could be rotated and moved to symbolize a certain letter in the alphabet, number or symbol. Altogether, the two arms and crossbar could create up to 196 symbols. Chappe chose this system over signal fires, lamps, flags, and mirrors because he determined through experimentation that it was the easiest to see over long distances.  In each tower, a man would watch the closest nearby tower through a telescope.  When one tower transmitted a message, the adjoining tower would do the same, communicating the message down the line until it arrived from point A to point B.  The Semaphore Line used encoded messages as well, and each Semaphore tower was issued a secret codebook.

Claude Chappe’s first line streched from Strasbourg to Paris with 50 Semaphore towers relaying messages.  Originally the line was used to communicate commodities prices for investors in Strasbourg.  However the French Consul/Future Emperor Napoleon Bonaparte saw value in the system as tool for the French Government and military.  He sponsored Chappe to build a system of Semphore lines in order to send military messages to the frontlines in Germany, Belgium, the Netherlands, and Italy.  After Napoleon’s fall, construction of Semaphore lines continued and gradually expanded.  By the mid 19th century, a network of lines connecting Paris with most major French cities had been built, with at network of 556 stations stretching over 3,000 miles. Other nations such as the UK, Sweden, Prussia, Spain, Canada, and United States adopted similar systems. By 1850, use of the Semphore line waned as telegraph technology became more common.

#THIS IS ADORABLE!

If you’re not amazed by the stars on a clear night then we won’t work.

Some words stay in your head long after they’re spoken.

Robin Roe (via bnmxfld)

Super blue blood moon rises behind Parthenon, in Athens January 2018

Silver mounted kindjal from the Caucasus, circa 1900.

from Czerny’s International Auction House

Ground Control to Major Tom Take your protein pills, and put your helmet on

We’ve come full circle

Moral of the story: Dont let dinosaur have sex

Ferdinando Scianna. MAURITIUS. 1989. The Dutch model MARPESSA HENNINK.

“I lampioni illuminavano la strada di un giallo acceso e creavano contrasto con i palazzi dalle finestre buie: solo un vetro di un palazzone alto lasciava trasparire una fievole luce bianca e la sagoma di una giovane donna, la mia sagoma.

Dopo aver scrutato quel panorama desolante dalla finestra, tornai a sdraiarmi sul letto, guardandomi intorno: il blu dominava nella piccola stanza da letto; pareti, la lampada sulla scrivania, il piumone caldo, il quadro sopra al letto.. Era tutto blu di tonalità e sfumature diverse; quel colore mi apparteneva: probabilmente, se mi avessero aperto in due, avrebbero scoperto perfino cuore, polmoni e fegato blu oceano o forse avrebbero trovato solo la schiuma bianca delle onde infrante con potenza sugli scogli, l'odore di salsedine così forte da bruciare lungo le vie nasali, il vento freddo che fa chiudere gli occhi e spettina i capelli e la possente forza e la pericolosa profondità dell'oceano in tempesta, la stessa burrasca che, rinchiusa dal corpo, spingeva per uscire, mandare alla deriva ed inondare qualsiasi cosa mi avesse circondata in quel momento, perchè così mi sentivo, così mi sento: uno tzunami di emozioni contrastanti, un uragano di pensieri, un leone abituato alla Savana e costretto nella gabbia di uno zoo.”

“Tra i molti pescatori che abitavano Vieste in tempi antichi, spiccava il giovane Pizzomunno. Era alto e bello, aveva tante corteggiatrici, ma il suo cuore era solo per il mare e per Cristalda, la fanciulla più bella del villaggio. Il sentimento era ricambiato, e questo amore così forte suscitava invidia non solo nelle altre ragazze, del villaggio ma anche nelle sirene che ogni giorno Pizzomunno incontrava durante le sue battute di pesca in mare.

Cercavano di sedurlo, promettendogli vita eterna e di diventare il re del loro regno ma il legame che univa Pizzomunno e Cristalda era più forte delle promesse delle sirene:  alle loro tentazioni, infatti, il giovane rispondeva che il suo amore per Cristalda non poteva finire; sentendosi rifiutate nonostante la loro immensa bellezza e le loro promesse, le sirene decisero allora di punire quell'amore così forte ed escogitarono una vendetta. Durante una delle solite notti in cui Pizzomunno e Cristalda se ne stavano abbracciati in riva al mare a guardare le stelle, le sirene si avvicinarono ai due amanti e strapparono con forza e velocità la bella Cristalda dalle braccia di lui, trascinandola con loro in fondo al mare. Pizzomunno si lanciò invano all'inseguimento delle sirene e, all'improvviso, la disperazione per averla persa lo assalì pietrificandalo e trasformandolo per sempre nell'imponente faraglione che si trova davanti alla spiaggia di Vieste. Alla vista dell'amato trasformato per sempre in roccia, Cristalda pianse disperatamente, fino ad attirare nel profondo l'attenzione delle sirene, che si resero così conto del grande dolore che avevano provocato.Così, concessero loro di potersi riabbracciare di nuovo, ma non per sempre. Da allora, solo una notte, ogni cento anni, a Cristalda è concesso di risalire dagli abissi del mare mentre Pizzomunno ritorna nelle sue fattezze umane, e si ristringono e si amano come la prima volta.”

Silvia Grav  is a 19 year old photographer from Spain. Currently living in Madrid.

Silvia’s work is best described as “surreal”. Some would classify much of her work as creepy, strange, or scary, but these creations truly takes conceptual photography to new heights. We have seen the technique of combining multiple exposures many times before, however, Grav has a knack at combining elements of nature (waves, stars, clouds) in a way that is just captivating. 

How would you describe your style?

I never quite know how to explain it. Aesthetically, I love analogue photography- dirty, scratched. I’ve been obsessed with the black & White that old photographs possess since I’ve discovered photography, but I don’t know why. I see very clear when I find beautiful imagery, but I ignore why I’ve acquired my style. I think that this is unconscious, a set of many influences that are impossible to differentiate.

By: Angela Butler from phlearn.com

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