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Monterey Bay Aquarium

❣ Chile in a Photography ❣
NASA

tannertan36

PR's Tumblrdome
Stranger Things
official daine visual archive
art blog(derogatory)
Xuebing Du

JVL


Discoholic 🪩

@theartofmadeline
𓃗
Misplaced Lens Cap
PUT YOUR BEARD IN MY MOUTH

oozey mess

blake kathryn
Sweet Seals For You, Always
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@jangojips
lost somewhere in a dream ౨ৎ

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So it’s been awhile since I’ve bound anything, but when I read the Cursed Amulet Story by @sunderwight, I was like, I gotta make an actual, physical evil amulet now. Except the evil amulet is also going to be a book. And the book is like a diary by the guy trapped in the amulet.
"Miss Sukey and her Nursery" is the title of a hand-coloured mezzotint made by John Raphael Smith in 1772. It shows a young woman holding a swaddled cat on her lap and preparing to feed it with a spoon.
Housed at the British Museum
Philip Prospero, Prince of Asturias, 1659 (aged 2) by Diego Velazquez
This is an example of boy dressed in gowns in the first few years of his life. The more formal of the gowns that children of both sexes wore were based on the fashionable gowns that grown women of the period wore. It can be tricky to tell the difference between girls and boys in portraits, but boys' gowns were often plainer and less decorated, and they might be shown with accessories, toys, or pets meant to declare their gender.
Wikipedia says, "the painting directly admits the little boy's precarious health: from strings criss-crossing his chest and waist hang metal bells and at least two protective lucky amulets, a cornicello, and on the string across his left shoulder hangs a black object, likely a fig-hand carved of jet. By contrast, nearly thirty years earlier, Velazquez painted a robust Balthasar Charles at age two or three with a staff, sword, exuberant sash and plumed hat." You can see Balthasar Charles's portrait here, and I would note that it also includes a gorget, a piece of armor that goes around the throat. Very masculine!
Here is another portrait of Philip Prosper after he was "breeched", or transitioned from skirts to breaches.
1660/1661 by Juan Bautista Martínez del Mazo
Ruth Norman, cosmic generator outfit

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Truncated text of tweet from MrPitBull, Mar 11, 2026:
She kept finding women in laboratory photographs from the 1800s. Then she read the published papers—and every single woman had vanished. Someone had erased them from history.
Yale University, 1969.
Margaret Rossiter was a graduate student studying the history of science. She was one of very few women in her program.
Every Friday afternoon, students and faculty gathered for beers and informal conversation. One week, Margaret asked a simple question: "Were there ever any women scientists?"
The faculty answered firmly: No.
Someone mentioned Marie Curie. The group dismissed it—her husband Pierre really deserved the credit.
Margaret didn't argue. But she also didn't believe them.
So she started looking.
She found a reference book called "American Men of Science"—essentially a Who's Who of scientific achievement. Despite the title, she was shocked to discover it contained entries about women. Botanists trained at Wellesley. Geologists from Vermont.
There were names. There were credentials. There were careers.
The professors had been wrong.
But Margaret's discovery was just the beginning. Because as she dug deeper into archives across the country, she found something far more disturbing.
Photograph after photograph showed women standing at laboratory benches, working with equipment, listed on research teams.
But when she read the published papers, the award citations, the official histories—those same women had disappeared. Their names were missing. Their contributions erased.
It wasn't random. It was systematic.
Women who designed experiments watched male colleagues publish results without giving them credit. Women whose discoveries were assigned to supervisors. Women listed in acknowledgments instead of as authors. Women passed over for awards that went to male collaborators who contributed far less.
Margaret realized she was witnessing a pattern that stretched across centuries.
Women had always been present in science. The record had simply pushed them aside.
She needed a name for what she was documenting.
In the early 1990s, she found it in the work of Matilda Joslyn Gage—a 19th-century suffragist who had written about this exact phenomenon in 1870.
In 1993, Margaret published a paper formally naming it: The Matilda Effect.
The term captured something that had been hidden in plain sight for generations. Once you knew the term, you saw it everywhere.
Her dissertation became a lifelong mission.
For more than 30 years, Margaret researched and wrote her landmark three-volume series: Women Scientists in America. She examined letters, institutional policies, individual careers. She gathered undeniable evidence that women in science had been consistently under-credited and structurally excluded.
Her work faced resistance. Many dismissed women's history as political rather than academic. Others insisted she was exaggerating.
Margaret didn't argue emotionally. She presented data. Documented cases. Patterns repeated across decades and institutions.
Eventually, the evidence became undeniable.
Her research helped restore recognition to scientists who had been erased:
Rosalind Franklin, whose X-ray work revealed DNA's structure—credit went to Watson and Crick.
Lise Meitner, who explained nuclear fission—omitted from the Nobel Prize.
Nettie Stevens, who discovered sex chromosomes—received little credit.
Cecilia Payne-Gaposchkin, who discovered stars are made of hydrogen—initially dismissed.
And countless others whose names had nearly vanished.
Margaret changed the narrative. Science was no longer just the story of solitary male geniuses. It became a story of collaboration that included women who had been written out.
The Matilda Effect became standard terminology. Scholars used it to examine how credit is assigned, how authors are listed, who receives awards, who gets left out.
THE MUMMY (1999)
dir. Stephen Sommers
"Old German Folk Tale" 🎨 Hermann Hendrich. 1896
Priestess Takushit from Bubastis, now in the National Archaeological Museum in Athens, Greece
Greek ring with a bee and the letters E and Φ (short for Ephesos)
3rd century BCE
J. Paul Getty Museum 85.AM.278

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~ Human Skull With Mosaic Designs.
Culture: Mixteca-Puebla
Period: Late Postclassic
Date: A.D. 1300-1520
Medium: Bone, stone and shell
I heart Minoan Women
Can't leave out the boys
The Pearl With The Girl Earring by Olaf Falafel
Cromwell, Minnesota
georgeduluth
I thiiinkkkk I'm done

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Day dress from the late 1830s to early 1840s