i'm not lost

frenchhistory: Château de Rambures @credits Le Château de Rambures was constructed in the Middle Ages in the style of a military fortress of the 15th century and was one of the first castles in Europe to be constructed almost exclusively in bricks. The castle is laid out as a square and is composed of eight towers and half-towers. The towers form the corners of the square and are linked by the half-towers. There is a single room on each level of the towers between the basement and the second floor. Communication between the underground level and the second floor is provided by four spiral staircases placed in the internal angles of the corner towers. The castle was constructed within a dry moat and is built largely of brick, a defensive measure against the then new artillery, with some limestone.Located near the frontier between the French and English territories, construction began during the Hundred Years’ War but it was not complete until after the end of the war

frenchhistory:

Château de Rambures

@credits

Le Château de Rambures was constructed in the Middle Ages in the style of a military fortress of the 15th century and was one of the first castles in Europe to be constructed almost exclusively in bricks.

The castle is laid out as a square and is composed of eight towers and half-towers. The towers form the corners of the square and are linked by the half-towers. There is a single room on each level of the towers between the basement and the second floor. Communication between the underground level and the second floor is provided by four spiral staircases placed in the internal angles of the corner towers. The castle was constructed within a dry moat and is built largely of brick, a defensive measure against the then new artillery, with some limestone.Located near the frontier between the French and English territories, construction began during the Hundred Years’ War but it was not complete until after the end of the war

vintagegal: Ziegfeld Follies dancer, Marilyn Miller by Alfred Cheney Johnston c. 1920’s

vintagegal:

Ziegfeld Follies dancer, Marilyn Miller by Alfred Cheney Johnston c. 1920’s

Sometimes I come to hate people because they can’t see where I am. I’ve gone empty, completely empty and all they see is the visual form: my arms and legs, my face, my height and posture, the sounds that come from my throat. But I’m fucking empty. The person I was just one year ago no longer exists, drifts spinning slowly into the ether somewhere way back there.

—-David Wojnarowicz (via funeraire)

(via palequeenliteraryquotes)

frenchhistory: Rubens - cycle de la vie de Marie de Médicis : entrée à Lyon @credits The Marie de’ Medici Cycle is a series of twenty-four paintings by Peter Paul Rubens commissioned by Marie de’ Medici, wife of Henry IV of France, for the Luxembourg Palace in Paris. Rubens received the commission in the autumn of 1621. After negotiating the terms of the contract in early 1622, the project was to be completed within two years, coinciding with the marriage of Marie’s daughter, Henrietta Maria. Twenty-one of the paintings depict Marie’s own struggles and triumphs in life. This painting allegorically depicts the first meeting of Marie and Henry, which took place after their nuptials by proxy. The upper half of the painting shows Marie and Henry as the mythological Roman gods Juno and Jupiter. The representations are accompanied by their traditional attributes. Marie is shown as Juno (Greek Hera) identified by the peacocks and chariot. Henry is shown as Jupiter (Greek Zeus) identified by the fiery thunderbolts in his hand and the eagle. The joining of the couple’s right hands is a traditional symbol of the marriage union. They are dressed in the classical style, which is naturally appropriate to the scene. Above the two stands Hymen who unites them. A rainbow extends from the left corner, a symbol of concord and peace. The lower half of the painting is dominated by imagery of Lyons. Reading from left to right, we see the cityscape with its single hill. The lions pull the chariot (which is a pun on the name of the city), and in the chariot we see the allegorical figure of the city herself with a crown of her battlements: Lyons. Rubens needed to be very careful in the representation of the couple’s first meeting because allegedly Henry was very much involved with a mistress at the time of the marriage. In fact, due to the king’s other engagements their introduction was delayed, and it was not until midnight nearly a week after Marie arrived that Henry finally joined his bride. By presenting him as Jupiter Rubens implies the promiscuity of the man and the deity. Simultaneously by placing King and Queen together he effectively illustrates the elevated status of the couple.

frenchhistory:

Rubens - cycle de la vie de Marie de Médicis : entrée à Lyon

@credits

The Marie de’ Medici Cycle is a series of twenty-four paintings by Peter Paul Rubens commissioned by Marie de’ Medici, wife of Henry IV of France, for the Luxembourg Palace in Paris. Rubens received the commission in the autumn of 1621. After negotiating the terms of the contract in early 1622, the project was to be completed within two years, coinciding with the marriage of Marie’s daughter, Henrietta Maria. Twenty-one of the paintings depict Marie’s own struggles and triumphs in life.

This painting allegorically depicts the first meeting of Marie and Henry, which took place after their nuptials by proxy. The upper half of the painting shows Marie and Henry as the mythological Roman gods Juno and Jupiter. The representations are accompanied by their traditional attributes. Marie is shown as Juno (Greek Hera) identified by the peacocks and chariot. Henry is shown as Jupiter (Greek Zeus) identified by the fiery thunderbolts in his hand and the eagle. The joining of the couple’s right hands is a traditional symbol of the marriage union. They are dressed in the classical style, which is naturally appropriate to the scene. Above the two stands Hymen who unites them. A rainbow extends from the left corner, a symbol of concord and peace. The lower half of the painting is dominated by imagery of Lyons. Reading from left to right, we see the cityscape with its single hill. The lions pull the chariot (which is a pun on the name of the city), and in the chariot we see the allegorical figure of the city herself with a crown of her battlements: Lyons. Rubens needed to be very careful in the representation of the couple’s first meeting because allegedly Henry was very much involved with a mistress at the time of the marriage. In fact, due to the king’s other engagements their introduction was delayed, and it was not until midnight nearly a week after Marie arrived that Henry finally joined his bride. By presenting him as Jupiter Rubens implies the promiscuity of the man and the deity. Simultaneously by placing King and Queen together he effectively illustrates the elevated status of the couple.

After spending the day cleaning and sifting through art history books, I’ve found a few suitable to take back with me to college. My decision to make now is whether or not to turn this tumblr into an art history blog! The answer lies in a bottle of pinot noir downstairs.