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argent vive
or quicksilver, also known as mercury,the cold, moist, receptive, female *seed of metals which must be united with the hot, dry, active masculine seed known as *sulphur in order to create the philosopher’s stone. Sulphur has the power to fix and coagulate the volatile spirit while argent vive or mercury has the power to dissolve fixed matter. Nicolas Flamel explained that ‘all metals have been formed out of sulphur and quicksilver, which are the seeds of all metals, the one representing the male, and the other the female principle. These two varieties of seed are, of course, composed of elementary substances; the sulphur, or male seed, being nothing but fire and air … while the quicksilver, or female seed is nothing but earth and water’ (hm, 1: 42). Calid equated sulphur with the ‘form’ and argent vive with the ‘matter’ of metals: ‘all Metals are compounded of Mercury and Sulphur, Matter and Form; Mercury is the Matter, and Sulphur is the Form’(Booke of the Secrets, 126). Argent vive is symbolized by the serpent or dragon, as Mammon points out in Jonson’s The Alchemist: ‘our argent vive, the Dragon’ (2.1.95).
albedo
the pure, white stage in the opus, also known as the albificatio. The albedo occurs after the blackened matter, the putrefied body of the metal or matter for the Stone, lying dead at the bottom of the alembic, has been washed to whiteness by the mercurial waters or fire (see *ablution). Artephius said of the mercurial water: ‘This aqua vitae, or water of life, being rightly ordered and disposed with the body, it whitens it, and converts or changes it into its white colour’ (sb, 14). Ripley wrote of the blackened matter: ‘Sone after by blacknes thou shalt espy / That they draw fast to putrefying, / Whych thou shalt after many colers bryng, / To perfyt Whytenes’ (tcb, 149). During the circulation, the matter of the Stone passes from the black *nigredo (the death) through the rainbow colours of the cauda pavonis (*peacock’s tail) through to the white albedo where the many colours are integrated into a perfect white.The Sophic Hydrolith stated that after the ‘peacock’s tail’ the matter turns ‘a dazzling white’ (hm, 1: 83) .
When the matter reaches the albedo it has become pure and spotless. This whitening of the Stone’s body by the *mercurial waters is sometimes called the ‘albification’. Chaucer’s Canon’s Yeoman tells of ‘our fourneys eek of calcinacioun, / And of watres albificacioun’ (Canon’s Yeoman’s Tale, lines 804–5).At this stage the body of the Stone (the *white foliated earth) smells fragrant and has attained to a spiritual state where it is no longer subject to sin or decay.The body has been whitened and spiritualized (i.e. the fixed is volatilized) and the soul has been prepared to receive illumination from the spirit.This is the stage at which the alchemist achieves the white stone and white elixir which has the power to transmute all imperfect metals to silver.The albedo is symbolized by all things pure, white or silver, some of which are: *Luna (the white *queen), the *moon (because the matter has attained the perfect state of receptivity, ready to be imprinted by form), *Diana, the *virgin, *dove, *snow, *swan, *white rose, *white lily, *alabaster, *marble, paradise (the *Elysian fields), *salt, *ash, silver and *white foliated earth. Edward Kelly wrote that the ‘tincture or elixir’ which ‘melts, tinges and coagulates … imperfect metals into pure silver’ is ‘called the Virgin’s milk, the everlasting water, and water of life, because it is as brilliant as white marble; it is also called the white Queen’ (Two excellent Treatises, 142).And Philalethes wrote of the albedo: ‘when by continuance of decoction the colour changeth to white, they call it their Swan, their Dove, their white stone of Paradise, their white Gold, their Alabaster, their Smoak, and in a word whatever is white they do call it by’(rr, 178).The clear moonlight of the albedo leads the adept out of the black night of the soul (the *nigredo) into the dawning of consciousness, heralding the advent of full consciousness symbolized by the midday *sun at the final red stage of the opus, the *rubedo.Thus Benjamin Lock wrote: ‘Before thy matter be perfectly congelate / Into rosynes, gloriously albificate’ (‘His Picklock’, f. 32v).

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aqua fortis
(Latin, strong water) nitric acid, originally referring to any powerful solvent. In alchemy it is another name for *Mercurius as the universal solvent which can dissolve any metal into its *prima materia (see aqua ardens).
aqua regia,
regis (Latin, royal water) a concentrated mixture of nitric acid (aqua fortis) and hydrochloric acid, able to dissolve gold. In De natura acidorum,Isaac Newton wrote of the reduction of gold or other bodies into the *prima materia for transmutation: ‘Mercury can pass, and so can Aqua Regia, through the pores that lie between particles of last order, but not others’ (in Dobbs, Foundations, 218). In Ben Jonson’s The Alchemist Subtle quizzes Face on his knowledge of repeated distillation: ‘What’s Cohobation?’ and Face answers ‘’Tis the powring on / Your Aqua Regis, and then drawing him off’ (2.5.26–7).
aqua vitae
(Latin, water of life) alcoholic spirits, especially ofthe first distillation; ardent spirits; distilled wine. It is also a name for the catalyst or agent of the opus, philosophical mercury known as *Mercurius, and the *quintessence. Colson’s Philosophia maturata states: ‘first calcine, then putrefie, and dissolve, and fix often with our Aqua vitae; wash and dry, and make a Marriage between the Body and Spirit’ (34). Artephius likewise identifies aqua vitae with the beneficent *’dew of grace’ which washes and whitens the blackened body of the Stone after *putrefaction, leading to the *albedo: ‘This aqua vitae, or water of life, being rightly ordered and disposed with the body, it whitens it, and converts or changes it into its white colour’ (sb, 14) (see Mercurius). Synonyms for aqua vitae are *bath, balneum (or balmy), moist fire, *dunghill, *horsebelly, blood of the *green lion, philosophic mercury. The Philosophia maturata says of philosophic mercury: ‘This is our Fire always equally burning in one measure within the Glass, and not without: This is our Dung-hill, our Aqua vitae, our Balmy, our horse-belly, working and producing many wonders in the most secret Work of Nature’ (32). Calid equated aqua vitae with the alchemical quintessence: ‘This is the true Aqua Vitae of the Philosophers; the true Spirit so many have fought for, and which has been desired of all Wise Men, which is called the Essence, Quintessence, Spirit’ (Booke of the Secrets, 125).
Aaaaaand.... Done! For now anyway, ready for the next one. Thanks Scary! (at Nostalgia Tattoo Co.)
As a personal study to understand the basic construction of regular geometric shapes with only a compass and ruler, I found it hard to remember each step. Animating the process seemed like the best way to document for future reference - Geometric construction by Adam Ploff
Healing and peeling. In a couple weeks I'm going back for a bit more details. Looking good though. Thanks Mr. Scary! (at Nostalgia Tattoo Co.)
While looking for the light, you may suddenly be devoured by the darkness and find the true light.
Jack Kerouac, The Scripture Of The Golden Eternity (via wordsnquotes)

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The Sri Yantra, a geometrical representation of Shakti.
“The 1st century was expecting a lion, but got a lamb. The 21st century is expecting a lamb, when a lion is on his way.”
– E. H. Looney
Yantra.
Yantras are powerful tools used in the worship process. The ancient Rishis or seers of India gave us these diagrams as a kind of map to understanding divinity, their angles and sections acting as signposts on the journey, they lead us to the goal of our worship.
Like any map you need to know how to read it, each yantra has is own viddhi or process of worship, specific mantras, nyasa, and prayers, for this you will need someone accomplished in the tradition of the particular yantra to teach you, it’s not book knowledge, puja or worship is about concentration, we come alway form the puja in contemplation and then it becomes more than just rituals, it’s a way of life.
Yantras are not decorative pieces to be hung on the wall or kept in our wallets for prosperity, they are not collection cards to be displayed by spiritual tourists or magical talismans, they are thousands of years of divine intuition that take us on a journey with a specific goal.
Vergvoktre

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Yaroslav Gerzhedovich | Fallen Angel