Photograph of Cléo de Mérode by Léopold-Émile Reutlinger (1901)
La Belle Ferronnière attributed to Leonardo da Vinci (1490-96)
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Hello Makerkenzie! I came across this fantastic quote by Thomas More in a documentary that I thought would really apply to Jaime's situation in the kingsguard during Aerys' time. It's from when More was being held in the Tower, "This Act of Parliament is like a two-edged sword. For if a man shall swear one way, it would confound his soul, of he swears the other way it would confound his body". Considering More's history it's an interesting parallel between him and Jaime at least in this particular way. More was being asked to choose between the king and his catholic principles. While Jaime was also having to choose between his king and his knightly vows (that are based on the Faith of the Seven). What are ur thoughts on this pair?
Jaime's struggle with his vows came from having to stop the king from turning the capital city into a mass grave.
More's struggle with his vows came from his supporting the authority of the Pope over his king. (https://en.wikipedia.org/wiki/Thomas_More)
Now I'm not saying King Henry's case against More was justified. The vows they wanted him to take were...not concerned with the welfare of humanity. Effectively they put him on trial for victimless crimes.
More's reasons for refusing to take those vows, however, were also not concerned with the welfare of humanity. They were concerned with his opposition to the Protestant Reformation. I'm fairly sure Jaime never did anything comparable to More's persecuting Protestants.
Jaime broke his Kingsguard vows while saving hundreds of thousands of lives.
More broke his vows while refusing to say the right words to the right people.
Of the two, I find Jaime's struggle with his vows much more compelling.
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"angry women burn brighter than the sun"
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flower crowns
angelica kauffmann, flora // ernst stückelberg, blumenmädchen // jules-cyrille cavé, girl with a bouquet of daisies // edward frederick brewtnall, the shepherdess
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”(...) at a century’s distance, each became known as her time’s great beauty. Like Mérode, Récamier embodied Tinan’s ideal of the national beauty, and exerted similar control over her images, fashioning and promoting through them a persona that blended innocence and seduction.”
-Cléo de Mérode and the Rise of Modern Celebrity Culture, by Michael D. Garval
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“saturn devouring his son,” francisco goya | “eat your young,” hozier
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i've said this before but i really like that the albums taylor wrote with joe describe so well the steps of a relationship (not every relationship is like this, but it feels common enough): reputation where there's so much lust, and some baggage, and you feel it's "us against the world" - lover that's about how shit is getting real and it's making you anxious but your relationship is growing - folklore/evermore about how shit is so real that in addition to the past, you now also have baggage from the current relationship - and midnights reflecting on not just your current relationship, but of all those that came before, realizing who you are and what you really want versus what you've accepted in the past.
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when alec lightwood said: and when one day people look back on me and what my life meant, I don’t want them to say, ‘Alec Lightwood fought in the Dark War’ or even ‘Alec Lightwood was Consul once.’ I want them to think, ‘Alec Lightwood loved one man so much he changed the world for him’.
and when prince henry said: because when they write the history of my life, I want it to include you and my love for you
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queer people kissing in movies made before the year 2000, in honor of pride month
the watermelon woman, dir. cheryl dunye (1996) // happy together, dir. wong kar-wai (1997) // morocco, dir. josef von sternberg (1930) // maurice, dir. james ivory (1989) // all over me, dir. alex sichel (1997) // the living end, dir. gregg araki (1992) // queen christina, dir. rouben mamoulian (1933) // edge of seventeen, dir. david moreton (1998) // desert hearts, dir. donna deitch (1985) // but i’m a cheerleader, dir. jamie babbit (1999)
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