#c. 1530

[theancientwayoflife]

~ Rosary Bead. Pendant, memento mori from a chaplet or rosary.

Date: ca. 1520-1530

Medium: Carved elephant ivory with traces of red and black paint.

[arinewman7]

The Death of Saint Innocent

Inscription:

"Only living when in art

No strength or resistance

Who I hit with my dart

To send them into poverty

Pray to God for the trespassers"

[lemuseum]

[fideidefenswhore]

the best henry viii era was the miranda priestly years.

[literaryvein-reblogs]

50 Terms of Endearment

This selection of words used as terms of endearment over the past thousand years shows several items that have stood the test of time, notably darling and dear, and some recurring motifs, such as those from the semantic fields of taste and the animal kingdom. But several belong to their own time: bawcock and bully, for example, are encountered in Shakespeare.

darling (c. 888) ⚜ dear (c. 1230) ⚜ sweetheart (c. 1290)

heart (c. 1305) ⚜ honey (c. 1375) ⚜ dove (c. 1386)

cinnamon; love (c. 1405) ⚜ mulling (c. 1475) ⚜ daisy (c. 1485)

mouse (c. 1520) ⚜ whiting (c. 1529) ⚜ fool (c. 1530) ⚜ beautiful (1535)

soul (c. 1538) ⚜ bully (1548) ⚜ lamb (c. 1556) ⚜ pussy (c. 1557)

ding-ding (1564) ⚜ lover (1573) ⚜ pug (1580) ⚜ mopsy (1582)

bun (1587) ⚜ wanton (1589) ⚜ ladybird (1597) ⚜ chuck (1598)

sweetkin (1599) ⚜ duck; joy (1600) ⚜ sparrow (c. 1600)

bawcock (c. 1601) ⚜ nutting (1606) ⚜ tickling (1607)

bagpudding (1608) ⚜ dainty (1611) ⚜ flitter-mouse (1612)

pretty (1616) ⚜ old thing (c. 1625) ⚜ duckling (1630) ⚜ sweetling (1648)

pet (1767) ⚜ sweetie (1778) ⚜ cabbage (1840) ⚜ prawn (1895)

so-and-so (1897) ⚜ pumpkin (1900) ⚜ pussums (1912)

treasure (1920) ⚜ sugar (1930) ⚜ lamb-chop (1962)

Source ⚜ More: Word Lists ⚜ Notes: On Love ⚜ Love Advice ⚜ "I love you" Word Lists: Love Pt. 1 Pt. 2 ⚜ Physiology of Love ⚜ Synonyms ⚜ Kinds of Love

Writing Resources PDFs

[antoniettabrandeisova]

Saint Jerome (detail), c. 1530 - 1540. The workshop of Jan Massys (Flemish, 1509-1575) Oil on oak panel

[cuties-in-codices]

st. christopher carrying the christ child // st. mary magadelene in a grotto

from a book of hours illuminated by simon bening, bruges, c. 1530-35 // size of the illuminations: 4.8 × 3.4 cm // (here's a cute video about this manuscript)

source: New York, The Met Cloisters, Inv. 2015.706, fol. 207v and 212v

[venustapolis]

Saint Michael (Giulio Romano, c. 1530)

[centuriespast]

The Magdalen Weeping Master of the Magdalen Legend (c.1483–c.1530) (studio of) The National Gallery, London

[borgialucrezia]

THE BORGIAS (2011-2013) + opening sequence ↴ "The Borgias dynasty is synonymous with corruption during their rise to power and their struggles to hold on to it. Greed, theft, rape, murder, bribery, and incest all played a part in the story, so historic paintings served as a great way to hint at some of these tasty attributes [...] A fair amount of time was spent trying to find paintings that were both visually beautiful and menacing at the same time. We took some artistic liberty on when and where some of the paintings were created, so not all were Italian Renaissance artworks but because they had exactly the right feel for what we wanted we bent the rules slightly! The themes of the show were always in the back of my mind as I was compiling the selects so it was simply a case of choosing images that felt visually appropriate to the story and that looked great. By carefully cropping the paintings and showing only certain details we were able to create a loose narrative." — GARRY WALLER (designer)

The paintings:

— Philippe de Croy, Seigneur of Sempy by Rogier van der Weyden, 1399 - 1464 — Exposure of Luxury by Agnolo Bronzino, 1545 — Lucretia by Lucas Cranach the Elder, c. 1472-1553 — Judith with the head of Holofernes by Lucas Cranach the Elder, 1530 — Zaccaria in the Temple detail by Domenico Ghirlandaio, 1486-1490 — Farinata degli Uberti alla Battaglia del Serchio by Giuseppe Sabatelli, 1842 — Death of the Virgin by Caravaggio, 1604-1606 — Death and a Woman by Hans Baldung Grien, 1517 — Triumph of Neptune by Bon Boullogne, 1649-1717 — The Artist's Sister Elena Anguissola as a Nun by Sofonisba Anguissola, 1532-1625 — Execution Without Trial under the Moorish Kings in Granada by Henri Alexandre Georges Regnault, 1870

[from-a-spiders-web]

St Justina of Padua with a Donor by Moretto da Brescia, c. 1530

[didoofcarthage]

Allegory of Fortune by Giovanni di Niccolò de Lutero, called Dosso Dossi

Italian, c. 1530

oil on canvas

J. Paul Getty Museum

[bronzeageecho]

winged figure, probably a traveling shaman | c. 500 BCE - 1530 CE | jama-coaque culture (modern-day manabi, equador)

in the museo casa del alabado

[literaryvein-reblogs]

could you, perhaps, talk a bit about Middle English? thank you, you're so cool

Writing Notes: Middle English

Middle English alphabet

The chronological boundaries of the Middle English period:

Not easy to define, and scholarly opinions vary.

The dates that OED3 has settled on are 1150-1500.

Before 1150 being the Old English period, and after 1500 being the early modern English period.

In terms of ‘external’ history, Middle English is framed at its beginning by the after-effects of the Norman Conquest of 1066, and at its end by the arrival in Britain of printing (in 1476) and by the important social and cultural impacts of the English Reformation (from the 1530s onwards) and of the ideas of the continental Renaissance.

Two very important linguistic developments characterize Middle English:

in grammar, English came to rely less on inflectional endings and more on word order to convey grammatical information. (If we put this in more technical terms, it became less ‘synthetic’ and more ‘analytic’.) Change was gradual, and has different outcomes in different regional varieties of Middle English, but the ultimate effects were huge: the grammar of English c.1500 was radically different from that of Old English. Grammatical gender was lost early in Middle English. The range of inflections, particularly in the noun, was reduced drastically (partly as a result of reduction of vowels in unstressed final syllables), as was the number of distinct paradigms: in most early Middle English texts most nouns have distinctive forms only for singular vs. plural, genitive, and occasional traces of the old dative in forms with final –e occurring after a preposition. In some other parts of the system some distinctions were more persistent, but by late Middle English the range of endings and their use among London writers shows relatively few differences from the sixteenth-century language of, for example, Shakespeare: probably the most prominent morphological difference from Shakespeare’s language is that verb plurals and infinitives still generally ended in –en (at least in writing).

in vocabulary, English became much more heterogeneous, showing many borrowings from French, Latin, and Scandinavian. Large-scale borrowing of new words often had serious consequences for the meanings and the stylistic register of those words which survived from Old English. Eventually, various new stylistic layers emerged in the lexicon, which could be employed for a variety of different purposes.

One other factor marks out the bulk of our Middle English evidence from the bulk of our Old English or early modern English evidence, although it is less directly a matter of change in the language than in how it is represented in writing:

the surviving Middle English material is dominated by regional variation, and by (sometimes extreme) variation in how the same underlying linguistic units are represented in writing.

This is not because people suddenly started using language in different ways in different places in the Middle English period, but because the fairly standardized late Old English literary variety broke down completely, and writing in English became fragmented, localized, and to a large extent, improvised.

Some Terminology

Great Vowel Shift - A systematic change in the long vowels in late Middle English that resulted in a new array of vowels, which includes diphthongs and tense vowels but which no longer generates a systematic distinction for length. Also called the Tudor Vowel Shift.

Lengthening - The change of a short vowel to a long vowel; it took place systematically during Middle English.

Levelling - The loss of distinctions in inflected endings, especially in early Middle English.

Thorn - A letter from the Germanic runic alphabet added to the Latin alphabet in Anglo-Saxon England to transcribe dental fricatives. It was used through the Middle English period and was gradually replaced by the sequence [th].

Wynn - A letter form adapted from the Germanic futhorc to indicate the sound [w] in the writing of Old English. It was used up to the Middle English period.

Yogh - A letter form used in Middle English and derived from the earlier insular letter form for [g]. In Middle English it was used for one of several consonant sounds.

Sources: 1 2 3 4 5 6 7 ⚜ More: Notes ⚜ Writing Resources PDFs

Some French Loans in Middle English Part 1 2

Some Renaissance & Latin Loan Words in Middle English

"Beautiful" Middle English Words

You are too sweet (I'm farthest away from the definition of "cool" haha). Do go through the links above for more details as well as an online Middle English dictionary. Hope this helps with your writing!

[antoniettabrandeisova]

Saint Jerome (detail), c. 1530 - 1540. The workshop of Jan Massys (Flemish, 1509-1575) Oil on oak panel

[cuties-in-codices]

strangely shaped roots

in a book of medicinal plants, bavaria, c. 1520-1530

source: Munich, BSB, Cod.icon. 26, fol. 18v, 15v, 46v and 60v