Apoplexy. Accidents and emergencies. 1850.
Wellcome Collection

Kiana Khansmith

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Apoplexy. Accidents and emergencies. 1850.
Wellcome Collection

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Inside Today’s Home: Sixth Edition, Nissen-Faulkner-Faulkner, 1994 📚
Salvaged & scanned by @jpegfantasy 🖨️
ANTONI GAUDÌ INTERIORS
As the recently restored Casa Vicens (1883/85) makes clear, Antoni Gaudì’s architecture, both outside and in, was initially a Catalunyan version of the dominant historicism and eclecticism, reflecting Gaudì’s admiration for Violet-le-Duc, the Arts and Crafts movement and, more locally, Josep Puig i Cadalfalch.
The undulating line and the right angle cohabitate uneasily in the heavy, dark para- medieval Palau Guëll (1886/88). In the Casa Battlo refurbishment (1904/06) and the Casa Milà (1906/12), Gaudì commits fully to the serpentine, calligraphic, biomorphic formal language of Art Nouveau.
The attenuation, curvilinearity, and sculptural qualities of Art Nouveau exemplified by Guimard’s Metro stations and Serrieur-Bovy’s furniture design presented major technical and material challenges to the architect. Gaudi’s reliance on abstruse geometrical forms like hyperbolic paraboloids and catenary arches only complcated the matter. Nevertheless, drawing on the considerable financial resources of his patrons, Gaudì realized in his residential buildings a nearly pure architectural version of Art Nouveau while others like Jules Lavriotte applied stylized portals and window casements to conventional rectilinear structures.

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In the Wild North, Ivan Shishkin
Medium: oil,canvas
https://www.wikiart.org/en/ivan-shishkin/in-the-wild-north-1891
What do your signs stand for?
Sun sign: Basic you
Moon sign: Inner you
Rising sign: Public you
Venus sign: You in relationships
Mars sign: Your passion
Mercury: Your communication (and planning)
Saturn: Your limitations
Jupiter: Your luck
Neptune: Your spirit (deeper self)
Uranus: How you Change
Pluto: Your power
Cocorrina
1970 Interior, backyard

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Marple Statue of ‘Hermanubis’. A combination of the Egyptian god Anubis and the Greek god Hermes that was popular in Egypt during the Roman period. The palm fern meant to be in the right hand is missing. Roman, Anzio. 1st to 2nd century AD. [683x1024]
Romain Jacquet-Lagreze’s Concrete Stories captures rooftop scenes, but not the kind you’d imagine. (see more)
Artist Hank Schmidt travels to scenic locations only to paint the pattern on his own shirt.

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look. look at this beautiful sword meme. i’m going to cry
@petermorwood
I saw and reblogged this one a while back, but it’s always worth repeating, and this time I’m adding a bit of background info comparing common fantasy sword features to the Real Thing (with pictures, of course.)
Leaf-bladed swords are a very popular fantasy style and were real, though unlike modern hand-and-a-half longsword versions, the real things were mostly if not always shortswords.
Here are Celtic bronze swords…
…Ancient Greek Xiphoi…
… and a Roman “Mainz-pattern” gladius…
Saw or downright jagged edges, either full-length or as small sections (often where they serve no discernible purpose) are a frequent part of fantasy blades, especially at the more, er, imaginatively unrestrained end of the market.
Real swords also had saw edges, such as these two 19th century shortswords, but not to make them cool or interesting. They’re weapons if necessary…
…but since they were carried by Pioneer Corps who needed them for cutting branches and other construction-type tasks, their principal use was as brush cutters and saws.
This dussack (cutlass) in the Wallace Collection is also a fighting weapon, like the one beside it…
…but may also have had the secondary function of being a saw.
A couple of internet captions say it’s for “cutting ropes” which makes sense - heavy ropes and hawsers on board a ship were so soaked with tar that they were often more like lengths of wood, and a Hollywood-style slice from the Hero’s rapier (!!) wouldn’t be anything like enough to sever them. However swords like this are extremely rare, which suggests they didn’t work as well as intended for any purpose.
I photographed these in Basel, Switzerland, about 20 years ago. Look at the one on the bottom (I prefer the basket-hilt schiavona in the middle).
A lot of “flamberge” (wavy-edge) swords actually started out with conventional blades which then had the edges ground to shape - the dussack, that Basel broadsword and this Zweihander were all made that way.
The giveaway is the centreline: if it’s straight, the entire blade probably started out straight.
Increased use of water power for bellows, hammers and of course grinders made shaping blades easier than when it had to be done by hand. This flamberge Zweihander, however, was forged that way.
Again, the clue is the centre-line.
Incidentally those Parierhaken (parrying hooks - a secondary crossguard) are among the only real-life examples of another common fantasy feature - hooks and spikes sticking out from the blade.
Here are some rapiers and a couple of daggers showing the same difference between forged to shape and ground to shape. The top and bottom rapiers in the first picture started as straights, and only the middle rapier came from the forge with a flamberge blade.
There’s no doubt about this one either.
The reason - though that was a part of it - wasn’t just to look cool and show off what the owner could afford (any and all extra or unusual work added to the price) but may actually have had a function: a parry would have been juddery and unsettling for someone not used to it, and any advantage is worth having.
However, like the saw-edged dussack, flamberge blades are unusual - which suggests the advantage wasn’t that much of an advantage after all.
Here’s a Circassian kindjal, forged wiggly…
…and an Italian parrying dagger forged straight then ground wiggly…
There were also parrying daggers with another fantasy-blade feature, deep notches and serrations which in fantasy versions often resemble fangs or thorns.
These more practical historical versions are usually called “sword-breakers” but I prefer “sword-catcher”, since a steel blade isn’t that easy to break. Taking the opponent’s blade out of play for just long enough to nail him works fine.
NB - the curvature on the top one in this next image is AFAIK because of the book-page it was copied from, not the blade itself.
The missing tooth on that second dagger, and the crack halfway down this next one’s blade, shows what happens when design features cause weak spots.
So there you go: a quick overview of fantasy sword features in real life.
Here’s a real-life weapon that looks like it belongs in a fantasy story or film - and this doesn’t even have an odd-shaped blade…
Just a very flexible one…
If you want more odd blades, Moghul India is a good place to start…
i could not ask for a better addition to my meme post than blade education thank you so much
By Sarah Hobbs