seen from Somalia
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seen from T1
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A memento mori in gold and enamel. It is in the form of a rectangular coffin which has two hinges on one side of the lid and a catch at the other side. There is a loop and ring in the centre of the lid, with EW inscribed twice around the edge. There is also an inscription on the sides of the coffin which read: DISCE MORI, LERN TO DYE. The coffin opens to reveal a tiny enamelled skeleton. Possibly English.
17th century CE Information card dates object to circa 1620
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which outfit would you rather wear? (1620)
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center left 🩶🩵
center right 🤍🧡🖤
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submitted by @welladaywelladay 🖤🧡❤️
Waistcoat
c.1620-1625
England
The high waistline and narrow sleeves, open at the front seam, are characteristic of women's waistcoats of the early 1620s. The blackwork embroidery is of exquisite quality and is worked in a continuous pattern throughout the body of the garment. A group of interlocking curling stems enhanced with a garden of roses, rosebuds, peapods, oak leaves, acorns, pansy and pomegranates, with wasps, butterflies and birds, make up the embroidery design. The extremely fine speckling stitches create the shaded effect of a woodblock print. This style of blackwork is typical of the early seventeenth-century and thought to have been inspired by the designs from woodblock prints that the embroiderers were using. The waistcoat is unlined and embellished with an insertion of bobbin lace in black and white linen at the back of each sleeve, and a edging of bobbin lace in the same colours.
The Victoria & Albert (Accession number: T.4-1935)
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#1620
"Hello, anon #1607 here, and I will actually apologize, I didn't expect so many people to really care about this. I thought most people would just be like "wow, this guy's opinion is stupid" and move on!
So, sorry for ruffling some feathers, folks! I could've definitely been a little more respectful like others have pointed out.
I did end up re-listening to the whole album, and I also followed along with the lyrics (as well as reading some annotations and interpretations on Genius) and... I'm still not a fan, but I suppose can appreciate it a little more. I also started liking "Nothing Bad Ever Happens To Me" more after re-watching the music video.. so 3/11 songs that I like.
I did read some reviews, and one that stuck out (it's actually on the wikipedia page for the album) was by Steven McDonald which "called the album "underrated" but bemoaned its "inconsistency" and I feel that sums it up pretty well. It's fairly inconsistent, especially the three track run of "No Spill Blood" to "Cry of the Vatos" to "Fill the Void." How did we go from rock to... god knows what... to reggae?
And, my opinion on the Boingo Alive versions being better still stands.
I wish I could say my opinion on this album has changed drastically but... not really. Maybe I'll listen for a third time in a few months.
Very sorry to the BoingoFessions blog owner, I didn't mean to stir anything up, especially something that was so drawn-out!
And thank you to #1613, that was very well-written and insightful."
Boingfessions owner here, it's all okay! I get that we all have our own opinions, but let's keep them respectful so no one can get offended or feel bad.
Judith Beheading Holofernes
Artemisia Gentileschi (Rome 1593 - Naples 1652/53)
1620
"“The Lord has struck him down by the hand of a woman”. So says Judith, a young Jew from Bethulia, in the bible when she describes her heroic act that freed the people of Israel from the siege by Nebuchadnezzar's army. Judith went to the encampment of the fierce Holofernes, general of the enemy army, dressed in her best clothes and feigning a wish to forge an alliance. Struck by her beauty, the Assyrian general invited her to a lavish banquet in his tent. After eating and drinking, Holofernes, now drunk, fell asleep on his bed, allowing Judith to seize her chance to draw her scimitar and strike the deadly blow. In this powerful painting in the Gallery of the Statues and Paintings of the Uffizi, (c. 1620), Artemisia Gentileschi portrays the moment that Holofernes is killed by the hand of the determined and powerful Judith. The overall effect is both powerful and frightening: the drunk corpulent general is lying on the bed, his head grasped by his hair and the sword plunged into his neck. Furthermore, Artemisia did not shy away from adding the gory detail of blood spurting so profusely as to stain Judith's breast. The painting was completed in Rome where Artemisia returned after spending seven years in Florence and where she was able to appreciate Caravaggio's works once more. The naturalistic “virility” of the work provoked strong reactions on its arrival in Florence and the painting was denied the honor of being exhibited in the Gallery; in fact, it was only with great difficulty and the help of her friend Galileo Galilei that the painter managed to extract the payment, with a significant delay, that had been agreed with Grand Duke Cosimo II de’ Medici, who died in 1621 shortly after the great canvas was completed. Today, this painting also represents the human and professional tale of a woman who chose to be an artist in an era dominated by men; in this she succeeded, working in the courts of Rome, Florence and Naples, traveling to England and finally becoming the first woman to enter the Academy of Art and Design in Florence."
Peter Paul Rubens (1577-1640), “The Fall of the Damned” (1620) 286 cm x 224 cm, oil on canvas
