Entrance Hall at Monticello (via Pinterest)
Continuity polaroids of Carrie Fisher’s hair during the filming of The Empire Strikes Back (1980)
something wicca this way comes
Bedřich Smetana - The Moldau (c. 1874 - 1879)
Maria Bonnevie as Martha Jefferson
Stephen Dillane as Thomas Jefferson
She took off her black gown as soon as the ceremony ended and ran into their room.
The smell of the flowers that adorned the small coffin clung to her dress and she couldn’t handle the sight of herself in the mourning clothing anymore. Silently, like a loyal shadow, he followed her - picking up the hat she’d dropped at the entrance of the house, observing her as she loosed her hair and, at the sight of her bare shoulders, offering her the comfort of his housecoat far too big for her. She wrapped herself in it and he placed the dark coat he was still wearing on an armchair.
Contrary to his quiet demeanor, she had to speak, to talk, to move, to let it all out - the good or the bad. They found they complimented each other perfectly: she talked, he listened.
"God hates us," she whispered.
There was no correct reply to such an affirmation, so he kept his imperturbable silence, his clear eyes always upon her.
"How many… cherished ones have we put underground since we met?” she continued, tears starting to fall again, “I’ve buried four children and lost one who didn’t even draw a single breath. He hates us.”
"No, Patty," he answered honestly, the trembling in his voice surprising him. “My Love, God doesn’t hate us."
"Just me then…"
There was mud from the graveyard in their room.
This type of container was held in the hand and served as either a perfume burner or hand warmer. Inside is a small brass cup that held a small quantity of smouldering charcoal. The cup is suspended within a set of gimbals which kept it level and prevented the burning charcoal from touching the surface of the container. Sometimes incense was added to the charcoal to perfume the air.
This brass piece was made in Venice and has the elaborate decoration associated with the city that was influenced by trade with the Muslim empires that bordered the Mediterranean. Unlike Northern European brass work, Venetian brass wares were almost always engraved and often inlaid with silver wire. This technique was known as damascening and was a speciality of Saracen artists. In this case, the maker has further defined the pattern by adding inlaid black lacquer.
The decoration on Venetian brass wares was extensive, often covering the entire surface of an object. It sometimes featured the arabesque pattern, based on a stylised plant with a winding stem. Contemporary Italian artists studied and copied the arabesque and by about the 1550s it was beginning to influence designers and craftsmen all over Europe.
Place of Origin
Spherical, the whole surface is engraved with bands of conventional foliage enclosing panels of knotwork. The incised lines are filled with a black lacquer; the intervening surfaces are damascened with silver. The two halves fit together by means of a a bayonet joint. There is a cast bronze container for bearing incense or perfume, suspended on gimbals inside.
Materials and Techniques
Brass, pierced, engraved and silver damascened with black lacquer infill. Perfume burner, brass engraved with foliage and knotwork, and filled with a black lacquer in the incised lines, Venetian, late 15th century.