#17th post

[valerieve]

A little doodle of BunAl Dazai-san I did on scratch. Note to self: Never try to draw complicated designs on scratch.

Also, I accidentally made his eyes green even though it is golden. My bad. And yes that is Akutagawa-san's hand.

[strangepizzasloth]

I don't know anything about one direction so I think this will be fun

I want a Tumblr best friend. Reblog if I can go on your page and write stupid things about One Direction in your ask box whenever I'd like to.

[yeoldenews]

A selection of animals from various 17th and 18th century calligraphy copybooks which were drawn with single lines to practice (and show off) penmanship strokes.

[bytesyzd]

dark angel module mikuuuuuu!!!!

[starscream-is-my-wife]

“Stop making AUs of a cut plot from 40 years ago” I tell my crazed mind but it would not stop

[astrolavas]

2 years of The Brainrot (happy hunting palismen anniversary)

[kayberrie]

broke: Ahsoka and Rex swap outfits and it’s horribly obvious plus fits badly

woke: Ahsoka and Rex swap outfits and look absolutely amazing in their new fits

[chiropteracupola]

c. 1540 CE: a young man from Chalco, and his dragon.

[elennemigo]

BENEDICT CUMBERBATCH by Prada for Icon Magazine.

📸 Photographer: Gregory Harris.

[paletapessoal]

Embroidered coat, Mughal Indian, ca.1620–25. Victoria and Albert Museum, London

[communist-hatsunemiku]

[dogzcats]

Marine

Cornelis Boumeester

Late 17th century

Colbalt blue and white ceramic tiles

[yeoldenews]

A selection of dragons, wyrms and other mythological creatures from various 17th and 18th century calligraphy copybooks which were drawn with single lines to practice (and show off) penmanship strokes.

[fjordfolk]

Utilization: By his anatomical peculiarities this dog is predestinated to puffin-hunting on the steep rocks around the fjords and along the shore.

The standard:

Neck: Clean-cut, of medium length, quite strong with a relatively well furnished collar.

Compendium comment:

The head is carried relatively low. The two last vertebrae (atlas/apsis) are shaped so that the dog can bend backwards so that the head touches the back. To do so is vital when turning in the narrow burrows. NB! This should NEVER be demonstrated the ring!

The standard:

Ears: Triangular ears of medium size, broad at the base, carried erect and very mobile. The cartilage of the ear lobe has the faculty of being able to retract itself so that the ear folds itself and flops in a specific manner, either backwards or in right angle upwards, so as to close the auditory passage.

Compendium addition:

The ears of the Lundehund have a unique muscle that enables them to fold and close the ears when entering the burrows, thus protecting them against dirt and moisture. The turning and folding of the ears probably also is help in locating the birds.

The standard:

Forelimbs: Moderately angulated. Forearm: Straight.

Forefeet: Oval shaped, turning slightly outwards, with at least six toes of which five must rest on the ground. Eight pads on each foot. The two inner toes, formed respectively by 3 and 2 phalanges and endowed with a ligamentary and muscular system, make the foot look solid.

Compendium addition:

Very flexible and elastic shoulder muscles. The Lundehund has joints that allow the forelimbs to extend at nearly 90 degrees from the body, but this must NEVER be demonstrated in the ring! The forefeet turn slightly outwards to give room for the extra toes.

The Norwegian Lundehund is a polydactyl. Instead of the normal 4 digits, the Lundehund normally has 6 digits, all fully formed, jointed and muscled, with tendons going up the inside of the leg, partly responsible for its wide front gait. Some specimen may have more, others less than 6 digits per foot, but less than 6 on front feet should lead to downgrading. The extra toes help the dog climbing up and down crevices in screes and cliffs.

The standard:

Hindfeet : Oval shaped, turned slightly outwards, with at least six toes - four of which must rest on the ground. Seven pads on each foot, the one in the middle, the most important one by its size, being attached to the inner pads corresponding to the two inner toes. When the dog is standing up on a flat surface, the weight of the body must be evenly distributed on the pads.

Compendium comment:

More than 6 digits is not a fault. 5 digits are acceptable on the hind feet. The extra toes on the hind feet are normally less developed than those on the forelegs and variations from the ideal, both regarding number and placement, should not be penalized.

The standard:

Gait/Movement: Light and elastic. An external rotary action of the forelegs and somewhat close action behind is characteristic of the breed.

Compendium comment:

In judging the movements of the Lundehund, one must consider that this dog is built to climb efficiently up and down steep cliffs and screes. The extra pads on both fore- and hind paws must then touch the surface to aid the dog in climbing. The extra toes help getting a grip, both in ascent and descent. The wide front with extra flexibility enables climbing safely up and down crevices, as the forelegs can grip at a 90 degrees angle to the body. On flat surfaces, the Lundehund will show typical rotating front movements, due to tendons and muscles from the extra digits on the inside of the legs. Hind movements are narrow.

[vinceaddams]

Early 18th (and late 17th) century fashions are so under-utilized in vampire media and I think it's a damn shame.

I don't actually think I've ever seen a single image of a vampire character in an early 18th century suit. Hardly any movies set in that era either, and hardly any historical costumers who do it. (Even my beloved gay pirate show set in 1717 takes nearly all of its 18th century looks from the second half of the century. Not enough appreciation for baroque fashion!!)

Yes I love late 18th century fashion as much as anyone, and 19th century formal suits are all very well and good, but if you want something that says old, dead, wealthy, and slightly dishevelled, then the 1690's-1730's are where it's at.

(Retrato del Virrey Alencastre Noroña y Silva, Duque de Linares, ca. 1711-1723.)

There was so much dark velvet, and so many little metallic buttons & buttonholes. Blood red linings were VERY fashionable in this era, no matter what the colour of the rest of the suit was.

(Johann Christoph Freiherr von Bartenstein by Martin van Meytens the Younger, 1730's.)

The slits on the front of the shirts are super low, they button only at the collar, and it's fashionable to leave most of the waistcoat unbuttoned so the shirt sticks out, as seen in the above portraits.

(Portrait of Anne Louis Goislard de Montsabert, Comte de Richbourg-le-Toureil, 1734.)

Waistcoats are very long, coats are very full, and the cuffs are huge. But the sleeves are on the shorter side to show off more of that shirt, and the ruffles if it has them! Creepy undead hands with long nails would sit so nicely under those ruffles.

(1720's-30's, LACMA)

Embroidery designs are huge and chunky and often full of metallic threads, and the brocade designs even bigger.

(1730's, V&A, metal and silk embroidery on silk satin.)

Sometimes they did this fun thing where the coat would have contrasting cuffs made from the same fabric as the waistcoat.

(Niklaus Sigmund Steiger by Johann Rudolf Huber, 1724.)

Tell me this look isn't positively made for vampires!

(Portrait of Jean-Baptiste de Roll-Montpellier, 1713.)

(Yeah I am cherry-picking mostly red and black examples for this post, and there are plenty of non-vampire-y looking images from this time, but you get the idea!)

And the wrappers (at-home robes) were also cut very large, and, if you could afford it, made with incredible brocades.

(Portrait of a nobleman by Giovanni Maria delle Piane, no date given but I'd guess maybe 1680's or 90's.)

(Circle of Giovanni Maria delle Piane, no date given but I'd guess very late 17th or very early 18th century.)

Now that looks like a child who's been stuck at the same age for a hundred years if I ever saw one!

I don't know as much about the women's fashion from this era, but they had many equally large and elabourate things.

(1730's, Museo del Traje.)

(Don't believe The Met's shitty dating, this is a robe volante from probably the 1720's.)

(Mantua, c. 1708, The Met. No idea why they had to be that specific when they get other things wrong by entire decades but ok.)

(Portrait of Duchess Colavit Piccolomini, 1690's.)

(Maria van Buttinga-van Berghuys by Hermannus Collenius, 1717.)

Sometimes they also had these cute little devil horn hair curls that came down on either side of the forehead.

(Viago in drag Portrait of a lady, Italian School, c. 1690.)

Enough suave Victorian vampires, I want to see Baroque ones! With huge wigs and brocade coat cuffs so big they go past the elbow!

[naffeclipse]