#i just have to find the specific we in france photo in my gallery

[jrueships]

being right about gup acting all petty that jalen got to go to France during the summer while he was stuck in stupid summer league fighting to get fed scraps for the regular season feels so good

[my18thcenturysource]

Our Collective 18th Century Library

This is a selection of books about the 18th century fashion, history, beauty, and life. Most of them in my personal library or have consulted but have not bought (yet). This post is going to be edited with more books added and reblogged for all to see, that’s why I called this post “our collective 18th century library”, from me to you all and then for you all to all of us.

Please add other books you have in your collections or you’ve read! And if you could keep the format (cover photo, book info, a little comment, the themes we can find in the book, and the link of where to find them), it will be consistently useful for everyone!

Let’s start:

ART

Casta Painting: Images of Race in Eighteenth-Century Mexico, by Ilona Katzew, Yale University Press, 2005, ISBN-10: 0300109717

Casta painting is a whole genre created in Mexico for depicting the population of the New Spain, and it’s whole purpose was to show the Spanish King what an organised viceroyalty it was, and how everyone has their proper place, even if that was not entirely true.

Themes: fashion (for visual reference), castas, race, Mexico, New Spain, Viceroyalty, the Americas, Mexico City, art, 18th century.

Available at: Amazon / Barnes and Noble / Waterstones

Painted in Mexico, 1700-1790: Pinxit Mexici, edited by Ilona Katzew, Prestel Publishing, 2017, ISBN: 978-3-7913-5677-8

The book from the exhibition about art made in Mexico City during the 18th century.

Themes: art, portraits, casta painting, Mexico, Mexico City, Viceroyalty, New Spain, the Americas, castas, religion, catholicism, 18th century.

Available at: Amazon / Amazon (Spanish version) / Target /  Waterstones

HISTORY

A History of Private Life, Volume III: Passions of the Renaissance, Edited by Roger Chartier, Series edited by Phillippe Ariès, Harvard University Press, 1993, ISBN 9780674400023

The life or ordinary people from the Renaissance to the Enlightenment, centered in Europe and especially France, you’ll read about the everyday lives of women and children, common men, education, marriage and well, the private life. This whole series (of 5 volumes) is worth each penny.

Themes: everyday life, history, women, Europe, France, children, education, Renaissance, Enlightenment, 16th century, 17th century, 18th century.

Available at: Amazon / Harvard University Press

A History of Private Life, Volume IV: From the Fires of Revolution to the Great War, Edited by Michelle Perrot, Series edited by Phillippe Ariès, Harvard University Press, 1993, ISBN 9780674400030

The first part is 18th century and deals with life pre, during and after French Revolution.

Themes: everyday life, history, women, Europe, France, children, education, Enlightenment, French Revolution, Victorian, Belle Epoque, WWI, 18th century, 19th century, 20th century.

Available at: Amazon / Harvard University Press

Black London: Life Before Emancipation, by Gretchen Gerzina, Rutgers University Press, 1995, ISBN-10: 0813522722

A glimpse into the lives of the thousands of Africans living in eighteenth century London.

Themes: everyday life, history, race, black, African, England, London, slavery, 18th century.

Available at: Amazon / You can also download it for FREE (ha! who needs Amazon now?)

Historia De La Vida Cotidiana En México 3: El siglo XVIII: entre la tradición y el cambio, by Pilar Gonzalbo Aizpuru, Fondo de Cultura Económica, 2012. ISBN-10: 9681677188

Common life in Mexico during the 18th century, from fashion, food and the markets, to the everyday life of mining cities, children and monks. This is book is a key reference for starting to read about the life of common people in the New Spain. Part of a series from the prehispanic times to the 20th century.

Themes: fashion, food, everyday life, New Spain, Mexico, Viceroyalty, The Americas, castas, mining, religion, catholicism, education, childhood, 18th century.

Available at: Amazon / Cambridge University Press / Fondo de Cultura Económica

FASHION

Auguste Racinet. The Costume History (Bibliotheca Universalis), Françoise Tétart-Vittu, Taschen, 2019, ISBN-10: 3836555409

I wanted to describe my undying love for this book, but I’m just gonna copy Taschen’s description: “Racinet’s Costume History is a landmark in the study of clothing and fashion. This reprint presents Racinet’s exquisitely precise color illustrations, as well as his delightful descriptions and witty commentary. From Eskimo attire to high French couture, this is an unrivalled encyclopedia for students, designers, artists, illustrators, and historians, and anyone interested in style.” So, yeah, this 19th century book rules.

Themes: fashion, interior design, furniture, 18th century, 19th century, fashion history, ancient times, middle ages, renaissance, baroque, rococo, victorian, menswear, womenswear.

Available at: Amazon / Taschen

Costume in Detail: 1730-1930, Nancy Bradfield, Quite Specific Media Group Ltd, 1999, ISBN-10: 0896762173

Focused on womenswear, Nancy Bradfield shares with all of us detailed illustrations and descriptions, as well as good information about fashion, garments, shapes, finishings, etc, of extant garments in private collections. A wonderful reference book for reproducing fashion and for illustrations or authors who want to give their character accurate fashion.

Themes: fashion,womenswear, extant garments, 18th century, 19th century, 20th century.

Available at: Amazon / Book Depository

Dangerous Liaisons: Fashion and Furniture in the Eighteenth Century, by Harold Koda, Andrew Bolton, Mimi Hellman, Metropolitan Museum of Art 2006, ISBN-10: 0300107145

The book from a long gone exhibition at the Met Museum, it has extant clothes, good info, and the links between fashion and furniture design that make us perceive both as purely 18th century.

Themes: fashion, interior design, furniture, museum collections, extant garments, exhibition, 18th century.

Available at: Amazon / Metropolitan Museum of Art

Fashion, A history from the 18th to the 20th century, by Akiko Fukai, Taschen 25th anniversary edition, 2007.

A basic fashion history book starting in the 18th century from the amazing collection of the Kyoto Costume Institute.

Themes: fashion, womenswear, menswear, embroidery, accessories, museum collection, extant garments, England, France, Europe, undergarments, 18th century, 19th century, 20th century.

Available at: Amazon in 1 volume and 2 volumes set.

Gallery of Late-Seventeenth-Century Costume: 100 Engravings, Caspar Luyken, Dover Publications, 2003, ISBN-10: 0486429865

Reprint of a collection of plates by Dutch engraver Caspar Luyken published in 1694. It shows men and women of different social classes and occupations. A key reference when looking for 17th century contemporary source material.

Themes: fashion, menswear, womenswear, Dutch, engraving, plates, 17th century, baroque, late 17th century, contemporary source.

Available at: Amazon / Dover Books

Historic Costumes and How to Make Them (Dover Fashion and Costumes), by Mary Fernald and Eileen Shenton, Dover Publications, 2006, ISBN-10: 0486449068

From the Middle Ages to the 19th century fashion, this book is a nice resource for theatrical costuming and has good but basic bits of historical fashion information. I recommend not to buy with no previous patternmaking and fashion background, since the diagrams are quite vague, and the descriptions even more. I personally only have used this book for reference of Medieval and early Renaissance fashion (which to be fair, are quite simple). Also, it is centered in English fashions.

Themes: fashion, theatre, menswear, womenswear, middle ages, renaissance, tudors, elizabethan, georgian, victorian, 15th century, 16th century, 17th century, 18th century, 19th century.

Available at: Amazon / Barnes and Noble / Dover Publications / Waterstones

How to Read a Dress, A Guide to Changing Fashion from the 16th to the 20th Century, Lydia Edwards, Bloomsbury Academic, 2017, ISBN-10: 1472533275

This books is very pretty and rather basic, it could be a really nice starting point for anyone getting an interest in fashion history. I’ve read reviews that it is “insultingly basic” which I do not get, I mean, if you cannot explain something in such a basic way that a child can get it, then you do not really master that subject. This books has pretty interesting info and it is a walkthrough of key silhouettes and extant garments, so it is not deeply detailed nor shows each and every silhouette of every decade of every century.

Themes: fashion, womenswear, gown, dresses, extant garments, museums, Europe, 16th century, 17th century, 18th century, 19th century, 20th century.

Available at: Amazon / Bloomsbury

Men's Garments 1830-1900: A Guide to Pattern Cutting and Tailoring, R. I. Davis and William-Alan Landes, Players Press, 1996, ISBN-10: 0887346480

A whole book only for menswear starting with the Regency silhouette and its very particular form until the turn of the 20th century. Yes. It is pretty good, I have to say, for all our Victorian outfit needs for the gentleman. I recommend this book (and the 2nd one on 19th and 20th centuries) for people with some knowledge of construction, grading, fitting, patternmaking, and tailoring, since it does not offer much sewing advice.

Themes: fashion, menswear, accessories, patternmaking, plates, 19th century, 20th century.

Available at: Amazon / Waterstones

Men's Seventeenth & Eighteenth Century Costume: Cut and Fashion, R. I. Davis and William-Alan Landes, Players Press, 2000, ISBN-10: 0887346375

My personal love for menswear is fueled by this book that details the suits, coats and tailcoats from the 17th and 18th centuries. It includes military fashion and other everyday clothes like breeches, capes, waistcoats, etc. via plates, figures, diagrams and texts. I recommend this book (and the 1st one on 19th and 20th centuries) for people with some knowledge of construction, grading, fitting, patternmaking, and tailoring, since it does not offer much sewing advice.

Themes: fashion, menswear, accessories, patternmaking, plates, 17th century, 18th century.

Available at: Amazon / Book Depository

Patterns of Fashion 1: Englishwomen's Dresses and Their Construction C. 1660-1860, by Janet Arnold, Drama Publishers, 2005, ISBN-10: 9780896760264

THE key source of patterns of extant garments, this series of books are the result of constant research on garments from museums, with details and info on construction, history and fashion details. You know, the kind of information you could only get with those garments in your hands.

So, as a resume, in this list there’s only the books with 18th century info in them, BUT you should actually have ALL of the Patterns of Fashion books.

Themes: fashion, womenswear, England, extant garments, museums, Europe, patternmaking, 17th century, 18th century, 19th century.

Available at: Amazon 

Patterns of Fashion 5: the content, cut, construction & contexto of bodies, stays, hoops & rumps, c 1595-1795, by Janet Arnold, Jenny Tiramani, Luca Costigliolo, Sebastien Passot, Armelle Lucas and Johannes Pietsch, The School of Historical Dress, 2019

The new book from the series is about undergarments from the 16th to the 18th century. It is only available through the store of the School of Historical Dress. Probably the best spent £35.

Themes: fashion, undergarments, stays, womenswear, England, extant garments, museums, Europe, patternmaking, 16th century, 17th century, 18th century.

Available at: The School of Historical Dress

Pictorial Encyclopedia of Historic Costume: 1200 Full-Color Figures, Karl Rohrbach (Author), Albert Kretschmer (Compiler), Dover Fashion and Costumes, 2007, ISBN-10: 0486461424

A reprint of Die Trachten Der Völker from 1906, this book, this is a great great encyclopedic work of fashion history, from ancient Egypt to late 19th century. It includes clothes for people of different social backgrounds, accessories, jewels, shoes, etc. I think that for the fashion history lover, the Rohrbach+Racinet combo is a must.

Themes: fashion, interior design, furniture, 18th century, 19th century, fashion history, ancient times, middle ages, renaissance, baroque, rococo, victorian, menswear, womenswear.

Available at: Amazon / Dover Publications

The Lady's Guide to Plain Sewing, Book I, Kathleen Kannik, ISBN 10: 0-9640161-0-9

References and tips for plain hand sewing, a key reference to achieve basic stitches that are historically accurate. It includes basic construction of items and some decorative techniques. Many of these techniques are still used in couture. This book is part 1 of a set of 4.

Themes: fashion, undergarments, womenswear, menswear, sewing, stitches, techniques, how to, patternmaking, 17th century, 18th century, 19th century, 20th century, couture.

Available at: Kannik’s Korner / Amazon (kindle edition) / Amazon

The Lady's Guide to Plain Sewing, Book II, Kathleen Kannik, ISBN 0-9640161-2-5

More sewing stuff with additional stitches and seam techniques, gather attachments, button making, gussets, re-enforcements, cord making, and an 18th century alphabet for cross stitching. This book is part 2 of a set of 4.

Themes: fashion, undergarments, womenswear, menswear, sewing, stitches, techniques, how to, patternmaking, 17th century, 18th century, 19th century, couture.

Available at: Kannik’s Korner / Amazon

The Workman's Guide to Tailoring Stitches and Techniques, Kathleen Kannik, ISBN 0-9640161-4-1

Now it’s time for historical tailoring stitches and techniques. This book is part 3 of a set of 4.

Themes: fashion, tailoring, menswear, sewing, stitches, techniques, how to, patternmaking, 17th century, 18th century, 19th century.

Available at: Kannik’s Korner / Amazon

The Lady's Economical Assistant or, The Art of Cutting Out, and Making, The most useful Articles of Wearing Apparel, Without waste; Explained by the Clearest directions, and Numerous Engravings, of Appropriate and Tasteful Patterns, ISBN 0-9640161-3-3

A re-drawn publication of a 1808 book, with cutting directions and patterns for infant clothes, girls, boys, some for men and women, and linens. Many illustrations and a supplement. This book is part 4 of a set of 4.

Themes: fashion, undergarments, kidswear, children, babies, infants, womenswear, menswear, sewing, stitches, techniques, how to, patternmaking, 17th century, 18th century, 19th century.

Available at: Kannik’s Korner / Amazon

The American Duchess Guide to 18th Century Dressmaking: How to Hand Sew Georgian Gowns and Wear Them With Style, by Lauren Stowell and Abby Cox, Page Street Publishing, 2017, ISBN-10: 1624144535

This book is such a good starting point for a 18th century wardrobe, since it walks you through the key outfits of the century in a simple and clear way. I think a background in patternmaking is a plus, especially for the most complex projects, but the basics are easy to follow.

Themes: fashion, patternmaking, how to, womenswear, 18th century.

Available at: Amazon / American Duchess

BEAUTY

18th Century Hair & Wig Styling: History & Step-by-Step Techniques, Kendra Van Cleave, Nice One, ISBN-10: 0692220437

Kendra van Cleave have been everyone’s guide into the 18th century beauty and hair (and of course, costuming) for quite a long time, thanks to her blog, Démodé, and now she published this well researched book with easy to follow instructions for all kinds of 18th century hairstyles. So, go get your wig and get to work. Also, at the book’s website there some videos, and at her blog you can find even more resources, tutorials, etc.

Themes: fashion, beauty, hair, wigs, 18th century, how to.

Available at: Amazon / 18th Century Hair Website

The American Duchess Guide to 18th Century Beauty: 40 Projects for Period-Accurate Hairstyles, Makeup and Accessories, by Lauren Stowell and Abby Cox, Page Street Publishing, 2019, ISBN-10: 1624147860

I KNOW this is not available yet, but I think it will be at least as good as the fashion one. Already on my pre-order list, it will be available on July 9th.

Themes: hair, hairstyles, hair and makeup, makeup, accessories, how to, womenswear, 18th century. Available at: Amazon / American Duchess

[thebiasrekkers]

Amaryllis: The Future || JHS

For the @bangtanscenery​ - April Showers Bring May Flowers Project in celebration of the Spring Season!

Plot: Everything always comes full circle. A soul falls into the ether, hoping to be reborn in the next cycle. If a desire is strong enough, it can manifest across space and time. Two souls reunite and are given a second chance, hoping that their love will be rekindled even stronger than it was before.

Rating: PG-13 // SFW

Genre: soulmate!au | reincarnation!au | angst | romance | drama

Pairing: Jung Hoseok x Female OC (Erica Bronwyn/Bayaraa Ehri)

Warnings: Mild language, angst, identity crisis, fluff, mentions of religion and mental health

Links: FAQ || BTS Masterlist || Admin E’s AO3 || [ REQUESTS ARE OPEN ]

Word Count: 9.0K

AN: Y'all. I just can't with this story. Part of me is glad it's over. Part of me is upset I didn't expound on this more. But they say that every writer should know when to let a story finish. So with this second part, this tragic story now has a happy ending. Thank you everyone who was patient with me and adored my work. It means so much to me.

© thebiasrekkers (Admin E). All rights reserved. Reposting/modifying our work is prohibited. Translations are not allowed. Plagiarism/stealing is not tolerated by any means. Legal action will be taken in instances of theft.

Present Day Gwacheon – Gyeonggi Province South Korea

Hoseok stared at the paperwork in front of his desk. Every so often, he would blink at it before shifting to the next page. He had so many questions, but the main one sat at the forefront of his mind. He turned another page, this time with photographs showcasing various pieces of art by a specific artist; the artist in question whose portfolio was sent to him earlier that week. 

“What do you think?” asked Namjoon.

Lifting his eyes to meet Namjoon’s, Hoseok raised a single brow. “I just have one question.”

He watched as Namjoon leaned back in the plush leather chair. “What?”

“Why me?” Hoseok returned his gaze back to the photos. “Why us?”

He heard Namjoon sigh as he readjusted himself in his seat. “Honestly, I don’t know.” 

This pulled at Hoseok’s curiosity. Namjoon was the Archivist and assistant Director to the art gallery they owned while Hoseok served as both the Curator and Director. In all the years they’d been opened, they never came across a situation like this. Their gallery wasn’t a well-known venue for art exhibitions. In fact, it ranged on the small side. Not many people knew about them and they focused on Indie Art and lesser-known artists to be able to give them a chance to be recognized and gain some viewership from the public.

But as Hoseok looked at the works in the photographs by this particular artist, he still couldn’t wrap his head around it. 

“Erica Bronwyn,” he murmured, but loud enough so Namjoon could hear, “a young, up and coming glass and metalworks artist who has gained much popularity in Italy, France, and England. Every gallery that has showcased her work has garnered a lot of success and positive response. Her stylistic focus on ancient Asian culture is a keypoint in all of her artwork, always adding a specific floral motif for each of her collections.”

“Too much?” Namjoon brushed some of his hair out of his eyes. 

Hoseok shook his head as he leaned back in his chair, folding his arms across his chest. “I just don’t get it, Namjoon-ah.” Again, he met his friend’s gaze. “Why us? Compared to the other galleries in South Korea, we’re nobodies.”

Namjoon barked with laughter as he raised his brows slightly. “I know, right?”

Unlike his best friend, Hoseok didn’t find this funny in the slightest. As he looked back at the portfolio, he couldn’t help but feel like someone was trying to pull a fast one on him. Had he missed the memo where he signed up to be part of a prank cam show? He wouldn’t put it past Namjoon, but with Winter winding down and yielding into Spring, Hoseok wasn’t in the mood to play any kind of games.

He didn’t know why, but this time of year alwaysleft him feeling especially melancholy.

One of the assistants at the gallery, Jisoo, came into their office with a tray of tea. They thanked her and she quickly excused herself, stating that she was going to do her rounds before closing up. After she left, Hoseok curled his fingers around his chin, his brows furrowed in thought. He just didn’t understand any of it.

“And no other galleries made any offers?” He reached for his teacup. “We don’t have much in terms of money. I mean, we are able to comfortably get by but I would think other curators would be dying to get their claws into any exhibition she would bring to the table.”

Namjoon swallowed a bit of tea while humming. “Oh no,” he said, setting the cup down on the saucer, “there were offers. Really nice ones, in fact. I talked to a few of the other archivists and directors from the more well-known ones in Seoul. Her agent turned them all down on her behalf.”

“But why, is what I’m getting at.” He could hear the exasperation in his own voice. “Why us, Namjoon? I don’t get it.”

“Y’know, Hoseok-ah, I don’t know.” Namjoon reached into his jacket pocket and pulled out a small business card. “But her agent did say that if you had any questions to contact Miss Bronwyn directly.” Hoseok took the card from Namjoon and studied the labeling on it which had a copy of her elegant signature on it. “Her cell number is on the back.”

Hoseok stared at the number on the back. He wasn’t sure why there was a sense of reticence swelling inside of his chest as he stared at the handwritten phone number. It looked like every other scribble in a long list of scribbles he’d looked at. But as his eyes lifted to peer back at Erica’s portfolio, an ache sat in the center of his lungs and made it difficult to breathe. His vision blurred momentarily and it wasn’t until he felt Namjoon’s hand on his shoulder that he realized what happened.

He was crying.

Reincarnation was a strange subject matter. Many religions spoke of the phenomenon differently. Not all of them were wrong, but not all of them were right either. If Erica had to pinpoint which faith got it right, it would discount them all. So she simply chose to believe what was the correct one from her interpretation.

In this life, her name was Eric Bronwyn. It was the name that her parents gave her when she was brought into this world. She believed that her name was Erica Bronwyn. 

But at the age of seven, a different truth came to light. Suddenly, she was flooded with memories of a life that she didn’t recognize. People spoke to her in a language Erica didn’t understand and the faces of those people were warm and affectionate. Over the years, she studied and tried to piece together the meaning behind all of these occurrences. Studying foreign languages and focusing on the scenes that flashed in her mind’s eye.

At thirteen, Erica realized who the people were. 

Her parents. Her sisters. Her family.

And a name. Her old name. 

Ehri.

Honing her talent for arts and crafts, Erica began breathing life into the images. She painted portraits of her parents, her sisters, and the close friends that she had in that world; in that life. Erica’s mother asked her where she was painting from; the portraits of the individuals of a completely different ethnic background and culture than her own. Part of her wanted to tell her parents in this life what it meant, but Erica also didn’t want to concern them over the minor details. 

Year by year, Erica lived two lives. One was her everyday life in the current time period and the other cycled parallel to the present. Every step she took, she could see both her path and the path of Bayaraa Ehri simultaneously. When Erica walked through a busy city street and concrete sidewalks, she could also see the grassy hills and mountain krags in tandem. When it rained outside at night, Erica also saw a colorful twilight sky free from a torrential downpour.

Every single day and every single moment, Erica and Ehri existed at the same time.

For a while, Erica believed that something was mentally wrong with her. Was she deranged? Did she need medical attention for this? How would she even begin explaining the cycle of reason without sounding ludicrous herself?

On her 22nd birthday, everything came to a head.

Erica just graduated and was starting out in the world. She knew she wanted to be an artist. But she couldn’t determine which medium suited her the most. Skilled in oil painting, sculpting and watercolor, she decided to visit a few art museums and galleries across Europe. While in Italy, she saw a small gallery that happened to be open on that particular day. Upon entering, only one other patron was visiting at the same time she was.

She couldn’t see him from the back and he was staring at a large oil painting of a spider lily. It was the gallery’s main showcase and Erica felt herself drawn to the piece more than the person looking at it. The two of them stood a few feet apart from each other, eyes locked onto the painting; unable to avert their gazes for even a second.

And then the young man finally spoke.

“Have you ever heard of the legend of the Spider Lily?”

A sharp pain struck Erica’s chest at that moment. Clutching at the front of her shirt, she turned to look at him. His face looked so familiar and everything in her mind seemed to rush forward all at once. When he asked if she was alright, a different face overlapped the man’s. Before she realized it, Erica burst into tears as her heart flooded with a turbulent storm of emotions. 

The man she remembered was Hoseok. The man she met that day was Benjamin Reinhart.

Benjamin stayed with her for years and he was the first person Erica told her secret to. But he didn’t react the way she feared others would. He was calm and understanding. And then he was determined to help her find the man that her soul remembered. 

In another year, Ehri and Erica were truly one and the same person. All of Ehri’s memories were now Erica’s, nestled safely beside the ones she made in her current life cycle. It was a terrifying transition, at least at first. Erica feared that the person she was would be erased by Ehri's own memories. They were powerful, passionate, and something to admire. But Erica went through her own struggles in her life. She didn’t want those memories to be destroyed.

When it became clear that Erica wouldn’t disappear, relief washed over her. She could access Ehri’s memories at will, wanting to know more about her past and the man who encompassed all of Ehri’s heart. 

It took Erica three years to find the one called “Hoseok”. Using a good chunk of her money and resources from showcasing her work throughout Europe, Benjamin’s search bore fruit. When he came back with several pictures, she was able to point out the one from Ehri’s memories. 

There was a part of her that hesitated, however. Mostly because her physical appearance didn’t match Ehri’s. Couldn’t that have been the case with Hoseok? What if the person in the picture wasn’t the Hoseok from Ehri’s memories? 

The problem called for more research. Erica threw herself into studying the various forms of reincarnation and which cases were similar to her own. There weren’t many and while most of them were informative on the person experiencing the soul rebirth, it didn’t speak much on those who may have been reborn but had no memories of their old lives. Many texts referred to it as “drinking from the Spring of Forgetfulness”. 

There was a passage, however, that gave Erica some hope. As stated in folklore, anyone who was set for reincarnation and drank from the Spring of Forgetfulness, would retain the form they had in their previous life to make themselves recognizable to those who did not drink from the spring. If Ehri’s memories were inside of Erica, then that meant Ehri hadn’t drank from the Spring of Forgetfulness. 

The caveat? Her physical appearance changed.

Everything else would be left to chance.

Cradling the coffee mug between her fingers, Erica could hardly contain her excitement. Elation mixed with anxiety created a stormy cocktail of conflicting emotions within her. Jung Hoseok, curator of one of the smaller art galleries in the Gwacheon area, finally agreed to meet with her. She honestly wondered if he would bother giving her the time of day, even with her popularity in Europe with her works. Any art director would be suspicious since her agent made it clear that she would not want her pieces showcased anywhere in South Korea. If he didn’t accept her offer, then she wouldn’t be displaying her work in any art gallery in the country.

Her PR agents were curious why she was so hellbent on making sure her pieces were showcased at Hoseok’s gallery. Erica didn’t have a definitive answer. Just that it had to be his. The reasoning wasn’t as important as the need for them to be placed there. Her agent, Benjamin, didn’t question her further. He knew how eccentric Erica could be and as a woman of color in the metal works medium of art, it was a constant uphill battle for her. Pressing her on minor details would be pointless.

Besides, who would take her reasons seriously?

It wasn’t like she could tell just anyone that she wanted to see the man who was her soulmate.

When the small bell chimed as the door opened, Erica felt her heart slam into her chest. As she looked up, she could see Hoseok slowly enter the cafè. She held her hand up to him, waving to get his attention, and he spotted her fairly quickly. He smiled back, waving and quickly crossed the small space to reach her. 

“Hi,” she said while standing, “I’m so glad you could make it.”

Hoseok reached out to grasp her hand, shaking it politely. “Thank you for agreeing to meet with me on such short notice.”

Erica smirked, shaking her head as they sat down. “Not at all. I wasn’t sure if you would accept my offer in the first place.”

A waitress came by, offered Hoseok a glass of water, and then he placed his order: an iced Americano. He met Erica’s gaze as he brushed some of his fringe from his brows. “Well, you didn’t make it easy for me.”

“What do you mean?” Erica canted her head slightly. “Was I asking for too much?”

“I wouldn’t call it asking for too much as I would asking for not much at all.”

She was genuinely confused. “I’m sorry, I don’t think I quite understand…”

For a moment, neither of them said another word. The waitress brought out Hoseok’s drink and he took a generous sip before clearing his throat. Again, he lifted his gaze to meet hers and there was a heavy ache that seemed to hollow out the lower portion of her stomach. Ehri’s feelings were on the brink of overwhelming her and Erica had to clench her trousers to keep herself from spiraling into an emotional outburst.

“It’s been bugging me. You’re such a well-known, up and coming artist. Why are you so adamant about showcasing your work at my galleria?”

Erica bit back a sigh of relief, feeling the need for an outburst starting to melt away. “You really take the time to focus on lesser-known works of art, as well as artists. And you take pride in making sure that the best representation is given to those artists.” She pressed her fingers along the sides of her cup. “Anyone can see how much you care. It isn’t about making a profit for you.”

It was only a half truth. Erica couldn’t bring herself to dump everything that slowly filled up inside of her over the years. Not only was it not fair, it was illogical. No one wanted baggage dumped unnecessarily into their laps unexpectedly. 

Swallowing the lump in her throat, she watched as Hoseok seemed to openly gauge her response, as well as her reactions. He took another sip of his coffee and Erica fidgeted with her nails along the surface of her coffee mug. The sound of ice clinking together kept her tethered as she waited for him to say something; anything.

“Alright,” he said finally, reaching across the table to offer his hand, “then I guess we’re partners for the time being.”

Unable to mask her joy, Erica grasped his hand with both of hers and shook it. She flashed an open-mouthed smile when she saw the surprise on Hoseok’s face. It quickly melted into amusement, but Erica didn’t mind if he thought she was silly. This was just the first step. A first of many.

After they finished shaking hands, Hoseok pulled out his phone. “I’ll have the assistant director forward the paperwork to your agent.” She waited for him to send the message and then he politely set his phone on the table. “So, can you tell me what the theme of your showcase will be this time?”

This was the moment that would help determine the way the course of events would unfold. This very moment. Erica knew it and so did Ehri. She had to choose her words wisely. She had to make this count for all that she could hope for.

She lifted her cup to her lips, took a generous sip of coffee, and set the cup back down on the saucer. Her eyes lingered on Hoseok’s for a few more seconds before speaking, a smile pulling at the corners of her lips.

“Have you ever heard of the legend of the Spider Lily?”

Lycoris radiata.

Bulg-eun Geomi Baeghab.

Manjusaka.

Higanbana.

Amaryllis.

They were all names referencing the red spider lily.

Hoseok found it a little strange that Erica wanted to showcase an Autumn Equinox flower in the middle of Spring. Even stranger, this was a flower that often was used to symbolize death. When he thought back to her portfolio, none of her pieces were quite as somber in tone as the red spider lily. In fact, in the language of flowers, Erica seemed to use positive terms in each of her collections. Nothing as melancholy or tragic as the spider lily.

When he thought back to the conversation he had with her a week ago, Hoseok couldn’t quite shake the feeling of nostalgia that blanketed over him. She spoke of the spider lily’s legend in a way that almost made one think she believed such a tale. He’d heard the story a long time ago - a story his great grandmother once imparted to him. But it was just a story about star-crossed lovers. There was nothing exciting or happy about it, so he quickly pushed it from his mind.

Hearing Erica’s version, however, left him feeling unsettled. Was it the sincerity in her voice or was it something else? He wanted to know why his heart felt such a heavy weight of sadness when he thought of her face as she spoke of the flower’s legend.

Her pieces were set to be displayed at the end of May. That would give her just over three weeks to complete her showcase. When he asked why Erica chose to make her art pieces after signing contracts, she said that it was simply a way to push her creativity to the limit. Knowing there was a set deadline prioritized her pacing and helped to generate a more stylistic approach compared to the normal methods. 

Erica seemed open, honest, and didn’t appear to have anything to hide. Part of Hoseok thought this trepidation was silly and unwarranted. When he brought up his concerns to Namjoon, he encouraged Hoseok to just talk to her. He didn’t think the solution would be something as simple as that, but he couldn’t refute it until he actually tried it.

So he waited to gain access to the workshop that Erica was currently renting out to put her pieces together. In truth, Hoseok never showcased much in the realm of glass or metal art pieces in his gallery. Most of it was the traditional watercolor, oil painting, or even sculptures of clay or stone. This was a new subject, even for him. 

When the metal doors slid open, a rush of heat immediately pressed against his entire body. Hoseok coughed from the suddenness of it, using his forearm to shield the lower half of his face to keep himself from breathing in the heat. Sweat slid down his neck and bubbled along the bridge of his nose. Hoseok’s eyes began to water in response to the stifling heat. 

Something cold touched his neck, causing him to jump slightly from shock at the sudden sensation. When he turned, he saw Erica holding out a bottle of water for him. He gave a sheepish smile as he took it from her. She helped herself to a generous swig from her own bottle and he couldn’t help but admire her rugged appearance. 

A thick leather work apron was wrapped around her body, a pair of thick gloves stuffed into the large front pocket. Her jeans were worn, stuffed into a pair of combat boots. Erica’s shirt was a black, loose fitted tank top, showcasing the muscle definition in her arms. There were a few scrapes and telltale red marks that indicated she’d suffered a few scorches from the flames she used in her work. He wouldn’t have guessed she had such a physique after having seen her in person for their casual business meeting.

There was a sheen of sweat along her olive skin, giving it a warm glow. Hoseok’s cheeks flushed slightly when he realized she was now looking back at him just as intently.

“Sorry,” he said quickly, averting his gaze, “I didn’t mean to intrude during your work hours.”

Erica waved off his apology. “It’s fine. I was just about to call it a day.” She turned toward the direction of where the heat was coming from. “Douse the furnace, guys!”

Within a few seconds, hissing noises were heard and the heat radiating from one particular area began to dissipate. A few metal shutters were slid closed and lights began to blink off one after another. Only one section was still lit and it was to the far left of the warehouse. Hoseok only managed to blink a few times before he heard Erica laughing beside him.

“Would you like to take a peek?” she asked, gesturing to the cluster of things covered with simple sheets. 

“If you don’t mind?”

“Not at all,” she said, motioning for him to follow her to the far corner. 

Erica reached for the switch to one of four standing lamps. One by one, she pulled to turn them all on, then grasped a corner of one of the sheets. With an unnecessarily dramatic flourish, she lifted the sheet up and off to let it flutter to the floor.

What was revealed from beneath had Hoseok’s lips parting in awe. Glistening under the amber lighting were various glass and metal pieces situated on pedestals. All of them contained an element of the red spider lily. There was a glass orb with a spider lily design blown across the surface, coloring the opposite side with the reflection from the light. A traditional looking Asian fan containing glass and metal had the red spider lily emblazoned along the spread. Around the edge of the fan were clusters of glass spider lilies. 

There were easily twelve pieces already completed. Each a different shape, style, or ornament with the red spider lily as the focus or accent to the work. But what had Hoseok pausing in mid-swig of his water was the metal spider lily that sat on a white satin pillow. He wasn’t sure if it was the lighting or the type of metal Erica chose to forge with, but the flower had an ethereal sheen to it that nearly mesmerized him. He unconsciously began reaching for it, stopping just before his fingers could actually touch it.

A sudden shock rocketed up his arm, startling him. Recoiling, he pulled his hand back quickly. He managed a few short breaths before collecting himself. “I’m sorry…” Hoseok pressed the heel of his palm to his forehead. “I don’t know what came over me just now.”

Erica said nothing. She just looked at him, her expression giving away nothing. Hoseok wasn’t sure if he'd made her mad, but she didn’t appear to be upset with him. After a moment of unbearably awkward silence, she smiled and moved to pick up the sheet from the floor. 

“I’m glad you like them,” was all she said before covering up her artworks with the sheet. Wiping her hands along the front of her apron, Erica reached into the front pocket and pulled out a hair tie. As she pulled her thick curls back into a low ponytail, she glanced over her shoulder back at the concealed pieces. “I should be done in another week. Just in time to get everything set up for the showcase.”

Something inside of Hoseok mourned their absence once they were completely hidden from view. There was a soft ache nestled at the front of his chest and he absentmindedly rubbed at it. Erica seemed to sense a shift in his demeanor and she gently placed a hand on his shoulder to steady him.

“Are you tired?”

A flash of white erupted in his line of sight, almost blinding him. Hoseok’s ears began to ring as different voices seemed to jump around in his head. Replacing the white void was a lush green field and when he next looked up, he was staring face to face with not Erica, but a different woman. She blinked up at him as she lifted her face from her forearms, looking a little sleepy. 

Her lips parted and she leaned back quickly, gasping a little as he blinked curiously at her.

“W-What?” she stammered out, heat rushing up her neck and spreading over her cheeks. “What’s the matter?”

He was crouched down on the ground, his elbows resting on his knees. But he didn’t move any closer to her. “I was asking if you were tired.”

And in a flash, it was gone. He was back in the world he knew, his eyes wide and staring straight into Erica’s face. She was close, as if inspecting his features, and he felt her press the back of her wrist against his forehead. 

“W-What’s the matter?” he asked, his voice trembling.

She frowned, but didn’t meet his eyes. “I was asking if you were tired.” 

Hoseok’s heart practically lodged itself in his throat. 

“But now that I’m getting a better look, you don’t seem so good. It might be the heat.” Erica took a step back while reaching into her apron pocket. “I’ll call a cab for you.” Turning her back to him, she shifted her focus to her phone, leaving Hoseok dazed and confused.

His body reacted before his mind could. He quickly closed the distance between them, slamming his chest into her back. His water bottle clattered to the floor and he heard Erica gasp, feeling her back muscles tense up as he wrapped his arms around her waist. Hoseok felt vibrations along his skin and it was hard for him to tell if Erica was the one shaking, or if it was him.

“D-Director Jung?”

Her voice brought Hoseok crashing back to reality. He promptly released her, taking several steps back as he held his hands up. “I’m...I’m so sorry.”

Erica turned to look at him. However, instead of an expression of rage or confusion, he could see something akin to sadness. Why was she sad? Had he somehow damaged something that he hadn’t intended to? And why had his body reacted in such a way? It felt natural. Being that near to her felt right and safe. 

Yet he couldn’t ignore the heavy despair that sat at the bottom of his lungs.

He quickly pivoted on his heels, making his way toward the entrance of the warehouse. The echo of his footsteps reverberated off the walls, but only his. Erica made no move to chase after him.

“Do you have to go?”

Her voice blanketed every square inch of him, halting him in mid-retreat. Craning his neck slowly, he glanced over to see that Erica was holding her phone at her side. Her expression never changed, still showing that sad sense of longing that he couldn’t quite understand the reasoning behind it. Her entire being was a mystery and one that he didn’t think he’d be able to escape from.

Another voice echoed in his mind.

“I don’t want you to go.”

It was his own.

Something was wrong and he didn’t know how to fix it. All he could do was run for now. It was the easiest solution, even though he knew it probably wasn’t the best one.

“...I’ll see you when it’s time to prepare for the showcase, Miss Bronwyn. Have a good rest of your evening.”

And without wanting to risk looking back, Hoseok quickly moved down the sidewalk. There was no way he was driving back home. Not with his nerves this severely rattled. Pulling out his phone, he was already dialing Namjoon.

He needed a drink.

The showcase was successful and received tons of recognition and positive feedback. It was to be expected. Erica was far from arrogant, but she was completely confident in her own skills. If anyone had anything negative to say, it was usually in reference to her chosen style and medium than anything else. But even the harshest of critics would finally admit that her talent was forged from years of practice, study, and due diligence. She should have been proud and, in some measure, she was.

But surface level pride could only do so much to nourish her spirit.

Erica could feel her determination starting to wane. The encounter she had with Hoseok at her warehouse caused a surge of hope to ignite inside of her. But following his hasty retreat, she hadn’t been able to get in touch with him. All calls were forwarded to Namjoon and while he did his best to reassure her that everything was fine, Erica could hardly take comfort in his words.

The way he embraced her in the workshop fueled something inside of both Ehri and herself. While the passion simmered on the surface from Ehri’s memories, Erica felt drawn to Hoseok as well. Her own affection and longing to understand him stayed hovering above the surface. She wanted to know him and empathize with him, not because of the past, but for the present.

Ehri’s feelings coincided with her own. They both wanted Hoseok to heal and feel the beauty of reconnection. But it wouldn’t be possible if he kept keeping her at a distance. She didn’t know when she would be able to talk to him again outside of work-related subjects. Would there be an opportunity to bridge the gap before she was scheduled to head back to the United States?

She wanted to be able to impart something to him before what little development happened disappeared into a puff of smoke.

Her phone buzzed on her nightstand and Erica absentmindedly looked at the screen. It was Namjoon, reminding her that there was to be a celebratory dinner being held in her honor in a few hours. Benjamin told her that it would be in her best interest to attend, regardless of the outcome and of the events that transpired prior to tonight. Erica wasn’t sure if she wanted to go, but she also knew that there was a level of professionalism and decorum that needed to be adhered to. 

Picking up her phone, she texted Namjoon that she would meet them there. Sighing, she looked back at her reflection in the mirror. Erica’s appearance was so different from Ehri’s. Being half Korean and half African American at least blessed her with Asian eyes and a Korean button nose. But her olive skin, thick curly hair and heart-shaped face helped to differentiate her from the rest of the crowd. Not belonging to one community or the other, it took a lot of struggles in her life to accept and respect her origins.

Having the soul of a Mongolian woman from centuries in the past made adjusting to her life in the present a little bit harder to deal with than she would have cared to admit.

“May as well try to enjoy myself,” she muttered, moving from the vanity to begin getting ready. 

Erica opted for a simple hunter green cocktail dress. It was safe, eloquent but not too gaudy to bring a lot of attention to herself. Dolling up her face with natural makeup and a soft bronzer for the finish, she chose gold hoops and a simple gold necklace with a flower pendant to finish the look. She pulled her hair up into a high ponytail placed on the side to accentuate her high cheekbones. Slipping into a pair of simple, black strappy heels, she grabbed her purse and dialed for a cab. 

It didn’t take her long to arrive. This particular lounge was a comfortable bar and restaurant. Reservations were required to enter, as well as an appropriate dress code. After she gave the host her name, she was escorted to the back to a private dining area. 

Her assistants at the shop and Benjamin greeted her warmly. Namjoon came and shook her hand, as well as giving her a hug. Hoseok was the last to speak with Erica and his appearance seemed serene and unsettled. It was a stark contrast to the last time she saw him, having seen his visibly shaken countenance soon after he embraced her. But now he conducted himself like a professional in every sense of the word.

She was smiling on the outside, but on the inside Erica could feel the distance growing even more between them.

Everyone cheered and congratulated Erica on her endeavors. It was a grueling two and a half weeks, but everything was complete and they all reassured her that the showcase went off without a hitch. She smiled and laughed when it was appropriate, downing flute after flute of champagne. It was the only way she could keep the pain in her chest at bay. Bellies full with food and booze, Erica quickly excused herself so she could enjoy the evening air on the lounge’s back patio.

The cool breeze soothed her warm skin, allowing her a small respite from her thoughts. Smiling sadly to herself, she had to admit that the evening was fun and her time in Korea was also enjoyable. There was no sense in rushing anything, even though she could feel Ehri’s desperation to reunite with the man she loved. But didn’t Erica have a say as well? This was her life just as much as it was Ehri’s. It was unfair to push all unresolved feelings of yearning onto someone who wasn’t prepared for it.

Things had to be taken slowly. Patience needed to be grasped.

“It’s a beautiful evening,” a voice said from behind her.

Erica turned, surprised to see Hoseok standing out on the patio with her. He handed her a glass of water and she politely accepted it. Turning back to face the city, she leaned against the metal railing and looked up at the sky. Hoseok sidled up next to her, taking in the fresh air and the landscape as well.

“Thank you for hosting this party for me, Director Jung.” It was the only thing Erica could think to say at that particular moment. She didn’t want to create any awkward tension between them.

“Please, just call me Hoseok.” Erica turned to look at Hoseok, blinking in semi-shock to see him actually looking back at her. His brows furrowed and he seemed to be battling internally with something. “I want to apologize for my behavior. It was rude and uncalled for.” She opened her mouth to speak, but Hoseok shook his head, silencing all protests she might have had. “No. Truly, it was unacceptable. Instead of rationalizing what happened that day at your workshop, I let my emotions get the better of me and pushed you away.”

Her shoulders sagged as her expression darkened. She didn’t want this kind of apology. She wanted understanding and to have a conversation about what happened. Apologizing for it meant that Hoseok most likely wanted to sweep it under the rug; to forget about everything. But if his response was anything remotely close to what she was hoping for, a type of awakening, then the last thing she wanted was to have him ignore it. 

“There are these feelings I can’t shake when I’m around you.” Erica saw a pained look cross his features as Hoseok reached up to grasp at the front of his shirt. “Hell, even when I’m not around you, I’m overwhelmed. I hear my voice and I see you.” He paused long enough to avert his gaze. “But then I don’t see you. I can’t figure out the meaning behind it all and it's haunted me every waking hour since we separated.”

Erica felt her lips part slightly, wanting to reach out and hold him close. She wanted to let him know that everything would be fine. He just needed to take it slow. He just needed to breathe. 

Instead, she smiled and grasped his hand in her own. “It’s okay to be scared, y’know?” He lifted his gaze to meet her eyes. “I was scared too.”

Hoseok blinked, his confusion obvious. “What do you mean?”

“I’ve read about this sort of thing happening. It could transpire in a variety of different ways. Every case is different.” Erica squeezed his hand, pressing her thumb into the center of his palm. “What you’re experiencing is the direct result of having met me. Your mind is starting to process what your body already accepts and understands.”

This was probably too much at once. Erica could sense it from the cold sweat forming in Hoseok’s palms. But every time she felt him beginning to pull away, she continued to hold his hand even tighter. Running from this wasn’t an option. He would either choose to submit to this ideology or deny it altogether. 

Running was out of the question.

“E-Erica-ssi,” he stammered, his eyes widening with every word she spoke. It broke her heart and fueled her determination simultaneously. “I...I don’t understand what you’re talking about.”

“Hoseok-ah,” Erica said slowly, dropping the honorific on purpose. It startled her more than it did him, despite it visibly showing on his face. “When you look into my eyes, what do you see? What do you feel when you look at me?”

Silence swirled around them, the ambient noise of the city a mere whisper on the cusp of how much energy was radiating between them. Erica maintained eye-contact with Hoseok and the intensity of her gaze was enough to keep him from looking away. She needed him to see what was buried in the depths of her soul; the very person who wished so hard to be reborn just so she could be with the man she loved so much. 

The transition would be terrifying to experience, but at least he wouldn’t have to do it alone.

She watched him swallow the lump in his throat and for a split second, her vision blurred from the onset of tears she was fighting so hard not to shed. Erica couldn’t afford to break down now. Not when he was so close to voicing the truth he wouldn’t be able to escape.

“I see you. But a you that isn’t you.” Hoseok bit his lower lip and she could feel his body trembling as she continued to hold his hand. “I feel like I know you. But the me that knows you isn’t someone I recognize.” He held a hand to his forehead, his hip leaning against the metal railing for support. “He has my voice...but there’s something off about it.”

“It’s not off. It’s just different. What else?” Erica rubbed comforting circles with her thumb along his knuckles now to ease the tension. “Do you remember anything else?”

“A name.”

Erica’s heart hammered like thunder against her ribs. “...a name?”

With his hand still pressed to his forehead, he peered into her eyes and something different swirled in his dark depths. It was clarity and resignation, albeit fearful. But it sat confidently in his gaze, his eyes taking on a glassy sheen under the fluorescent bulbs from the street lamps. 

“Your name.” He took a step forward, twisting his hand so that his fingers were laced through hers. “I see you, Bayaraa Ehri.”

The tears she’d been holding back mercilessly fell, streaming her cheeks. She dropped the glass of water from her hands, letting it shatter around her feet. She didn’t care that her feet were wet or that she’d broken something. The sound barely registered in her mind. Erica never imagined this feeling of reconnection would explode inside of her. It was like Ehri’s soul was singing with renewed vigor; her second breath of life finally given the opportunity to breathe ; to be.

She smiled through her tears, relishing in the feel of Hoseok’s hand resting against her cheek. His thumb stroked affectionate circles beneath her eye. The look on his face mirrored the face of the man Bayaraa Ehri loved so much.

A face that Erica Bronwyn loved as well.

“I see you too, Wang Hoseok…” She reached up to brush her fingers through the fringe of his hair. “And I see you, Jung Hoseok.”

Not wanting to destroy the moment, all Erica could do was bask in the glow of her own feelings. Not Ehri’s, but her own sense of joy and fulfillment in that very instant. Hoseok pulled her closer and she felt her heart rate escalate until she was forced to close her eyes. She felt his breath along her skin as her body pressed against his; melding into it.

And then his lips brushed against hers, sending her whole world into a tailspin.

Her mouth parts slightly at his silent insistence, tasting his lips. It was a mixture of champagne and her raspberry lip gloss. Erica’s heart thumped painfully in her chest, nearly causing her legs to buckle in agony. She felt Hoseok’s fingers curl even tighter through her own, his other hand having vacated the planes of her face to press along the curve of her lower back. Erica’s own hand gripped at the base of his neck, the roaring thunder of her heart exploding in her ears.

Until there was stillness. Silence. So quiet that both body and soul could savor the moment; to, once again, garner meaning to their existence. 

Erica Bronwyn was scared.

Bayaraa Ehri was terrified.

Both were elated beyond measure.

“Oh, that?” He stood from the small stool situated at her bedside and retrieved the box from the table. After he sat back down, he opened it and showed her the metallic spider lily inside. “Do you like it?”

She nodded.

“I’m glad.” He closed the box. “It was supposed to be your wedding present, but I figured this would help lift your spirits some.”

Ehri sighed a little, her brows furrowing. “But didn’t you say that the legend of the Spider Lily is a sad story?” She pouted again. “Why would you give me such a thing as a wedding present?”

Hoseok reached out to pet her head. “I bought this from an artisan who claimed that this flower is different from the actual spider lily.”

“Different how?”

Again, he opened the box to show her the lovely flower. “He said that anyone who possesses this flower is guaranteed to be reunited with their love in the next life. It will not come to pass like in the tale of Manju and Saka.”

“How can he guarantee that?”

“I asked the same thing,” Hoseok said while laughing. He closed the box. “But we will just have to see when we are reborn again, hm?” He stroked her cheek with his fingers. “I want to love you again in our next life, Ehri-ah.”

Hoseok cried out, gulping a lungful of air as the sheets clung to his upper body like a second skin. Bolting upright, he stared wide-eyed at the space just below his wall clock. The ticking of the second hand sounded like muffled gunshots in his ears. His breath came in heavy, short intervals and it took him a moment to actually calm down.

Groping in the dark for his phone, he barely managed to snatch it off the nightstand. The screen instantly lit up to show the time in blinding white numbers.

4:37AM.

Everything felt like a dream. Or, rather, like he was dreaming while still awake. When Hoseok was asleep, he didn’t feel like he was actually sleeping. Instead of dreams, his mind was filled with memories in colors so vibrant they were nearly blinding. His world, the world he’d always known, felt so faded and seemingly colorless in comparison. This was a life; his life. His old cycle that was now blossoming with life and fervor, threatening to burst clear from his body and soar to the skies.

Hugging his chest, he leaned forward and shuddered. A cold sweat peppered across his back and neck, dripping from his nose. His hands felt clammy and cold, no matter how much he rubbed his arms up and down to soothe the overwhelming sensation wrapping around him. 

He needed to get up. He needed to move. His body would lock up and go into shock if he didn’t. 

Stumbling from his bed, Hoseok felt the sheets wrapping around his ankles. He collapsed in a heap on the floor, his breathing escalating as he tried to sit back up. A spike of pain struck at the forefront of his mind, causing him to cry out. Fluttering petals swirled around the bedroom as a ray of morning light seemed to spread in a cone through the large bay windows.

“Seobang-nim?”

Hoseok hummed.“Yes, what is it, Pu-in?”

She smiled, closing her eyes. “Thank you.”

“For what?”

“Everything.” Ehri gripped her fingers a little tighter around his. “Thank you for everything.”

Hoseok moved, causing Ehri to lift her head up so she had to look at him. While one hand held hers, his other rested along her neck. “Pu-in…”

“I love you,” she whispered to him, leaning forward to press her lips against his.

White heat burned his eyes, causing him to cover them with both hands. He screamed, the painful throb beating mercilessly against his temples. All he could do was curl up into a ball, writhing in agony as the images continued to flash in rapid succession like a camera shutter. 

Laughter.

So much laughter.

Worry.

Hope.

Determination.

Resignation.

Overwhelming despair.

Rolling over onto his side, he clutched the letter in his hands as his tears soaked into his silk pillow. “No,” he whispered, his voice barely recognizable, “I don’t want to be here to see it alone. I don’t want to see it march on without you here with me.”

And then, the proverbial dam inside of him broke. Everything surged into him all at once. Every single memory of the past pulsed through him. He remembered everything. 

His life as a member of the royal household’s branch family. 

His parents. 

His brothers. 

The street market vendor who sold him the spider lily forged in metal.

"I find it hard to believe that you don't," teased the vendor, which caused Hoseok to cant his head slightly, "but let's just say that this flower isn't an ordinary spider lily. The one who forged this flower said that the tragedy still exists inside, just as the legend dictates. But unlike Manju and Saka, the one who holds this flower will be able to reunite with their loved one in the next life. Guaranteed."

And the moment he first laid eyes on Bayaraa Ehri, the woman he loved.

The woman he would continue to love even into their next life.

Sobbing into his hands was all he could do at that moment. In the midst of his pain, he was experiencing everything simultaneously. It was sensory overload at its finest.

And then there was absolute quiet.

Still. Quiet. Clarity.

Jung Hoseok and Wang Hoseok were now truly one.

Clambering to his feet, he quickly made his way to the bathroom. He showered, brushed his teeth, and got dressed. Faded jeans and a gray hoodie comprised his attire, but he wasn’t trying to impress anyone. As he left his apartment, the security lock beeping as the door closed, he beelined for the elevator. He was already dialing for a cab before the lift dinged to signify he was on the ground floor. The driver greeted him warmly, despite the late hour, and Hoseok did his best to remain polite. But desperation nearly superseded his need to be amicable. 

He gave the driver the address to Erica’s hotel and as they made the drive, he called her. Her sleepy voice answered and Hoseok felt like he’d grown wings. Erica’s voice, to him, sounded like Ehri’s. And Ehri’s voice was now Erica’s. He finally understood what she meant when she said she’d been afraid too.

It must have been like this for her. It must have been like this for her for a long time. 

“Erica, it’s me.”

“Hoseok-ssi?” He could hear shuffling on the other line. “Is everything alright? Are you hurt?”

He smiled, unable to keep his joy hidden. “I’m almost at your hotel. Can you meet me in the lobby?”

“Uh, sure. Let me get dressed…”

They said their goodbyes just as the cab driver announced they would be arriving shortly. He quickly paid the man, dashing toward the front entrance of the hotel. The sliding glass doors barely had time to open as Hoseok squeezed his way through them. The elevator dinged and the doors parted to reveal Erica dressed in a large sweatshirt and leggings. She was barely able to open her mouth and say his name before he pushed into the elevator, knocking her back against the wall. His lips immediately sealed over her own and she gasped, reaching up to grip at his shoulders while steadying both of them at the same time.

He broke the kiss, allowing them to breathe, and he couldn’t help but admire the pink tinge settling along her olive skin. She huffed, her chest pressed against his. He was having a difficult time discerning whose heart was beating the hardest.

“H-Hoseok,” Erica managed to say, her brows lifted in surprised, “what’s the matter?”

“I remember it all.” Hoseok watched her eyes widen even further and he leaned forward to press his forehead against hers. “I remember everything .” She moved to cover her mouth with her hand, but he grabbed it, keeping it away from her lips. He wanted to kiss her again. He wanted to breathe in her scent; her very soul into his being. “I’m me. I’m the me of today and yesterday.”

Hoseok watched her bottom lip quiver as tears filled her eyes. “E-Everything?”

He nodded. “Everything.” 

They both inhaled sharply, their lips seeking eachother out. He could feel her body trembling as he held her tightly against her, not caring that he was shedding tears himself. And as their lips parted once more, he leaned down so their noses were barely touching - the swell of her mouth still so close to his own. 

“Wang Hoseok missed her desperately,” he whispered against her lips, “and Jung Hoseok needs you desperately.”

He could see the trepidation visibly fleeing from her gaze. It must have been the one thing that she was still fearful over; the one thing that she didn’t want to give a voice to. Because he was afraid for the same reason. 

If one spirit had more power over the other, would the other cease to exist?

But he could sense it. His consciousness and the consciousness of his old self were nestled side by side. They were choosing to coexist in this moment and for every moment that would transpire after. Half of his heart longed for Bayaraa Ehri and the other half was pulled in Erica Bronwyn’s direction. Two halves of a whole begging to be acknowledged and listened to.

Again, Hoseok kissed her full lips; drank in her very being. She didn’t have the same face as Ehri, but her soul was there - standing alongside the woman who lived in this life.

The life of Erica Bronwyn.

“You’ve dealt with this longer than I have.” He smiled against her mouth. “I’m afraid that I’ll have to request your assistance on the matter.”

Erica pulled back a measure and he took a moment to sweep his hands over her tear-stained cheeks. She did the same for him. “That’s fine,” she whispered, shifting forward so he was forced to move in the opposite direction with his back pressed against the wall. Her hand reached over to the different buttons on the elevator’s panel and she hit the one for her floor. The lift shook and then moved upward. “There’s no rush.”

Hoseok smiled openly and she, in turn, smiled as well. They were still themselves. But they were also two people pulling the past behind them. With Ehri’s illness came a sense of despair that was often smothered with the hope that a miracle would transpire. But when the end came, it was swift and merciless. Their time was short, but their love was magnanimous. Everything felt rushed, just like the manner in which he’d regained the memories of his old life.

There was no sense of urgency present. Erica and Hoseok could both take their time as pieces of their souls found solace in reuniting again. They had the opportunity to love and fall in love all over again.

The true miracle was now. 

He pulled her close, nestling his face into the crook of her neck as she wrapped her arms around his. Again, he drank in her scent, pressing a hand against the back of her head - his palm resting along the thick nest of curls. For a small eternity, Hoseok held her in his arms. And seconds before the elevator dinged for the appropriate floor, he lifted his head back only to turn his face to meet Erica’s lips again, savoring the taste of her as if for the very first time. The steady drum of their hearts beat in time with one another.

Now that we have the time...

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POINT OF NO RETURN

ART FORUM

Alex Kitnick on the discontent with museums

“WHEN DISCONTENT WITH MUSEUMS is strong enough to provoke the attempt to exhibit paintings in their original surroundings or in ones similar, in baroque or rococo castles, for instance, the result is even more distressing than when the works are wrenched from their original surroundings and then brought together.” This is Theodor Adorno in his great essay “Valéry Proust Museum,” first published in German in 1955, a moment of reckoning and reconstruction. Though Adorno doesn’t specify why the attempt to return and repatriate is more upsetting than the original rift and reassembling of modernity, it is clear that we are in a similar moment of discontent again today—and that we, too, must consider our desires and the effects they might produce.

In May this past year, the director of Florence’s Uffizi, Eike Schmidt, announced a proposal to return a number of the museum’s religious paintings to churches (if not to the exact ones the paintings came from, then at least to similarly Christian places of worship). At first glance, this seemed like a not-terrible idea; after all, I have seen Caravaggio’s Inspiration of Saint Matthew, 1602, tucked into its nook in San Luigi dei Francesi in Rome and felt that awed feeling of witnessing a thing where it was meant to be seen, in situ. Schmidt had apparently absorbed all the postmodern lessons of site specificity, about what is lost when something is picked, pried, or stolen from its original context. (“To remove the work is to destroy the work,” I could almost hear Richard Serra say.) But as I thought more about his proposal, the deep anti-modernism of the gesture struck me: The idea, after all, is not simply to relocate the paintings but to change their natures, transforming them from secular things worthy of contemplation into devotional images deserving of worship. Even if Schmidt is somehow historically right—in other words, even if he is being faithful to how artists intended their work to be seen—he is nevertheless revoking the experience of modernity that has descended upon these paintings.

When a painting was taken off the wall of the church and brought into the gallery of the museum, we were asked to look at it differently than the artist intended. Broken out of its original lifeworld and turned into a fragment (this is the original crime Adorno speaks of), the artwork became secular, a relic of another time and place, patched together with relics from other times and places. (“It would be an act of madness to enter a museum, kneel down before a painting of the virgin to pray for a soldier missing in battle, lighting a candle and leaving an offering on the floor near the picture before leaving,” Philip Fisher noted in 1975.) It is lost and adrift, yes, but it is also transformed, and here we find the other edge of the sword: One begins to draw connections the artist never imagined. That is the quixotic, heady power of the museum, the birth of which, one might go so far as to say, demands the death of the author. No works made before 1860 were meant to be contemplated in quite the same way—as Foucault reminds us, Manet was the first painter to imagine his paintings in the museum—but nothing that goes into it can resist its power. In this sense the museum is akin to the commodity system, another modern invention: Artworks confront all other artworks within its space. Inside, they change orientation, speak differently, take on new lives, assume new values. The viewer is charged with wondering about their potential, purchase, and power.

To describe the Uffizi plan as anti-secular and anti-modern is not to say that every repatriation shares these characteristics. In general, stolen things should be given back, and the past few years have seen many struggles for restitution that are undeniably just. In 2018, scholars Felwine Sarr and Bénédicte Savoy of the Collège de France released a brilliant report, commissioned by President Emmanuel Macron, urging the return of plundered African objects to their native lands: “African cultural heritage can no longer remain a prisoner of European Museums,” Macron’s Twitter account proclaimed. It is hard to argue against this move even if the proposed return is to some extent symbolic, and one might ask if European museums are not also attempting to divest themselves of a troubling colonial history: While France is much less likely to give back all the resources it plundered over the longue durée of colonialism, the return of objects might still pave the way for other forms of remuneration and justice; in their report, Sarr and Savoy note that restitution opens the “question of building bridges for future equitable relations.” Importantly, they are just as invested in the experience of confronting the objects themselves. As Sarr and Savoy put it, “To fall under the spell of an object, to be touched by it, moved emotionally by a piece of art in a museum, brought to tears of joy, to admire its forms of ingenuity, to like the artworks’ colors, to take a photo of it, to let oneself be transformed by it: All these experiences—which are also forms of access to knowledge—cannot simply be reserved to the inheritors of an asymmetrical history, to the benefactors of an excess of privilege and mobility.” If repatriated objects are unlikely to return to their original contexts, Sarr and Savoy insist, they must be displayed in necessarily “unoriginal” ways—in other words, in a museum.

The museum reveals the artwork’s potential precisely by negating it.

A LOT HAS CHANGED in the past forty or so years. If the postmodernism of the 1980s considered the museum to be in crisis and contemplated its “ruins,” today many see these same institutions as frustratingly intact, as bulwarks against change, citadels to be stormed. (Even ten years ago, the Left’s critique of museums was simply that they had transformed from civic sites to experiential fun houses. “The late-capitalist museum” was understood to be a space of spectacle, not BlackRock lucre.) Where an earlier generation of artists associated with institutional critique pointed to the museum’s genetic incoherence, as well as to the incursion of corporate interests, today the museum itself stands as a purveyor of systemic and symbolic violence. “The very foundation of the museum is carceral and colonial, and thus ableist,” artist Carolyn Lazard claimed in a recent interview. “Once we abandon the solidity of the museums’ justifications for existing, we might be able to invent new forms and new models of making.” Lazard is not alone in their thinking, but plans of attack have taken different approaches. In a recent exhibition detailing the role of slavery in the British empire and its afterlife in institutions of contemporary art, artist Cameron Rowland mortgaged the mahogany doors and handrails at the Institute of Contemporary Arts, London, installed by the extravagant George IV—thus making a strike against the host institution, while at the same time acknowledging, by staging the exhibition, that the artist is bound to it. (Even as the institution’s hardware remains intact, its value is drained—the site becomes indebted.) And many others, artists and art workers alike, have occupied the museum in similar ways, sometimes to drain it but just as often to reenergize it. One of the most affirming aspects of the protests against Warren Kanders’s trusteeship of New York’s Whitney Museum of American Art, which sprang up around the 2019 Biennial, was how many people claimed the institution as their own and insisted that their voices be heard there too. While the ultimately successful campaign to oust Kanders from the board neither erased his tear gas from the world nor purified the institution, it did mark an ethical position that had potentially political effects: For who, more people might ask, would want to break bread with a person like this?

Needless to say, we cannot undo the history of the museum, but neither should we invest blindly in its current state of affairs; we have to recognize it for what it has done, what it is capable of, and what it might do. Contra Adorno, the museum is no longer a mausoleum: His claim that the museum only exists out of “historical respect” has ceased to be the case. Indeed, the museum today is expected to be a center of attention and an active agent in culture to satisfy the “needs of the present,” but as much as it tries to stay up-to-date, it cannot help but deploy its age-old techniques—and this is not wholly a bad thing. After all, the museum is one of the few devices that can make the royal democratic, the private public, the sacred profane. It can switch contexts and create distance. It can bring things to light.

I am trying to argue here for the possibility of a productive alienation, a salutary anti-immediacy. In a sense, the museum reveals the artwork’s potential precisely by negating it: “Works of art,” Adorno insists, “can fully embody the promesse du bonheur only when they have been uprooted from their native soil and have set out along the path to their own destruction.” This is not quite as perverse as it sounds. Art is different than reality; it is one way of thinking about it and contemplating it. In his 1917 essay “Art as Device,” Viktor Shklovsky noted art’s strange-making powers, its ostranenie, its ability to defamiliarize. The device of art, however, resides not only in its objects but in its institutions—in other words, the artmaking, strange-making device par excellence may be the museum itself. And this strangeness, my substitute word for autonomy, is what grants the museum its privileged position not outside, but adjacent to, life—a place where life might be seen, queried, and discussed.

But must modern museums sit on endlessly growing piles of capital in order to do this work? Each expansion the museum makes not only creates room for more art but also builds a structure ever more costly to maintain—indeed, its incessant territorial expansionism might be one of its most colonial traits, apart, of course, from the encyclopedic museum’s mission to universalize (and centralize) by plunder. Hito Steyerl has written powerfully of what she calls the “poor image”—a digital file that is circulated, amended, shared, and cared for by many. What it loses in quality, in resolution, she claims, it gains in history. Now might be the time to imagine a “poor institution,” a place infiltrated by many that values community over control. What would a “poor” Whitney look like? A “poor” Guggenheim? A “poor” MoMA? Might they keep exhibitions up longer and dig more deeply into their permanent collections, enfranchise educators and dock executive pay? In other words, change structurally instead of signify differently? This is not a plea for populism, to pander to the people, but rather a call to recognize the many invested in, and identified with, institutions. Discontent with museums is productive. Unless we reimagine them radically, they may well become the baroque and rococo castles in which much art was first housed.

https://www.artforum.com/print/202101/alex-kitnick-on-the-discontent-with-museums-84657

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Top 18 Trends In All Van Gogh Paintings To Watch | All Van Gogh Paintings

Allison, Graham, and Nicholas. They are the three bodies I adulation best in the world, my wife and sons. They accord me amore and affirmation clashing any added bodies I know.

They can additionally drive me absolutely insane, and I apperceive that I can do the aforementioned to them. We’re family.

For added than 100 canicule now in the COVID-19 pandemic, we’ve all been calm at home, hardly departing from one another’s company. It’s difficult active with the aforementioned bodies day afterwards day in abreast from the of the world, with accustomed routines interrupted, and aloofness and confinement fabricated about impossible. 

We alive in a 1920s bungalow. If you airing in the advanced aperture of the house, you can see all the way to the back. You apperceive area you’re activity aback you airing in, and aloft arriving, you can attending aback and see area you came from. This array of coziness absolutely encourages accurateness amid family; it can additionally actualize tension. 

But we all adulation anniversary added dearly. We’ll be fine.

It wasn’t absolutely as simple for the painters Vincent van Gogh and Paul Gauguin, who for a agitated three months in 1888 aggregate a baby abode in Arles, in the south of France. It was Vincent’s idea. He begin a house—“The Yellow House”—and absurd that it would accomplish the absolute address for himself and the new brand of proto-modern painters who would appear to be accepted collectively as the Post-Impressionists. The abode would be the centermost of an aesthetic utopia, area painters could appear and

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18 Things Your Boss Needs To Know About Van Gogh Most Famous Paintings | Van Gogh Most Famous Paintings

Imagine activity belted by the acclaimed Vincent van Gogh painting “The Starry Night” or the august colours of a behemothic adaptation of his “Irises.”

That’s allotment of what you can apprehend at the display “Immersive Van Gogh,” which has angry a behemothic allowance that acclimated to abode the Toronto Star’s press presses into a alveolate art gallery: 600,000 cubic anxiety with 50-foot ceilings.

The media got the aboriginal attending on Wednesday morning and I acknowledge I was a bit agnostic activity in. As addition who has been advantaged abundant to see acclaimed art in the flesh, so to speak, about the apple as able-bodied as actuality in Toronto, I wondered: could projections of paintings on walls and floors be thrilling?

The acknowledgment is yes, admitting in a altered way than seeing them in person.

Before we get to that, let’s allocution about the who and why of the show.

Vincent van Gogh, built-in in the Netherlands in 1853, asleep of a self-inflicted gunshot anguish in 1890 in Auvers-sur-Oise, France, is uredly one of the world’s best acclaimed artists. Bodies are fatigued to him for the turbulence of his life, including acid off allotment of his own ear and spending time in an asylum, as abundant as for the adorableness of his post-Impressionist paintings.

This display came to Toronto afterwards co-producers Svetlana Dvoretsky of Appearance One Productions and

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The 21 Steps Needed For Putting Gothic Art Into Action | Gothic Art

A appellation that primarily refers to Western European architectu​​re of the mid-12th to mid-13th centuries.​​ A distinctiv​e appropriate of Gothic architectonics is the acicular arch, and the primary blazon of Gothic architecture was the cathedral.​​ Gothic cathedrals​​ are apparent by their innovation​​s: attenuate bean walls, aerial buttresses​​, decrepit bottle windows and acute height, which produced a absolute experience​ for the worshipper​​​.

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Know that the weather will certainly not make or break the day, so do not let it stress you too much. If it's an outdoor wedding place, locate out what isn't offered as well as what you will require to bring with you. Some parks have structures as well as washrooms, but no place to save food for the reception.

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Along with figuring out if the venue place is readily available on your wanted day, you should additionally check out whether it is a convenient area for your visitors. Can it hold every person? Is there enough car park? Are there enough washrooms? Is it environment regulated? These are very important things to keep in mind prior to making the last decision to book a venue.

It is indicated to be enjoyable as well as interesting. Here at WeddingWire, we have a quick and also very easy way to find and also contrast wedding celebration venues in a breeze. If you're asking on your own, "Where are the finest wedding celebration venues near me?" We'll assist you locate them. Seeking a location wedding rather? .

Top Wedding Venues In San Diego, California

Wherever you end up holding your wedding event, you as well as your partner are predestined to have one of the most unforgettable days of your lives.

File A Claim Against Kessler Christian Oth Studio Position right up there with interaction rings as well as wedding apparels, browsing via venues is one of one of the most lust-worthy parts of the wedding event planning procedure. Yet with alternatives huge and endlessand at every cost pointit can be a complicated job to take on, especially if you aren't certain where worldwide you intend bryllupslokaler i københavn to wed.

From European estate to tropical coastlines and also distinct stateside areas, below are our leading choices for the most gorgeous wedding celebration places around the globe. New York City Town Library When it involves luxury New York City wedding celebrations, The New York Town Library is as traditional as you can getwith an adequate dosage of prestige.

The very best component? The famous site has numerous event areas within the structure, making it simple for visitors to migrate from one room to the next. Maintain in mind that each space can play host to a different ambiance, from your romantic event to an all-out dancing event. New York, NY, UNITED STATES Vacation home Balbiano This splendid villa, situated simply outside Lenno in a secluded setting on Lake Como, is among the supreme places to wed in one of the globe's most breathtaking destinations.

Top 26 Coolest Wedding Venues In The United States - Green ...

If you're looking to see how the vacation home played host to one of our preferred wedding celebrations, see exactly how Kristen and Zack made it their own on MARKET Bride-to-be. Ossuccio Carbon Monoxide, Italy The Historic Royal Palaces Yes, you can get married at the royal palaces. From Banqueting Residence as well as Hampton Court Royal Residence to Kensington Palace (where the Cambridges as well as Sussexes live), allow magnificent formal yards, elegant patched courtyards, and spectacular Tudor and also Baroque style be a classy yet grand British background for your wedding.

London, England Blackberry Ranch What was found originally as a wild blackberry bramble (for this reason the name) in the Great Smoky Mountains, is currently a totally extravagant grange that has actually progressed into a pastoral 4,200-acre estate. From Luke Bryan concerts to Billy Reid fashion reveals, you remain in great firm when it involves preparing a wedding celebration at Blackberry Farm.

Walland, TN Hotel du Cap-Eden-Roc This 5-star Oetker Collection residential or commercial property is the perfect setting for an exclusive French Riviera occasion in haute couture. The private premises include immaculate gardens, personal Cte d'Azur shoreline full with an infinity pool as well as a diving board into the sea, as well as deluxe occasion rooms with illustrious background as well as picturesque views at every angle.

Pro tip: For the utmost in exclusivity, get Resort du Cap-Eden-Roc in its entirety for a genuinely personalized event. Antibes, France Hayfield Wild grasses, sweeping stretches, as well as ancient trees are simply a few information that this Catskill State Park place has to supply when creating a storybook setup for your wedding and function.

San Diego Wedding Reception Venues

If you're trying to find ideas of how to style this barn venue in such a way that's anything however standard, take hints from BAZAAR Features Supervisor, Olivia Fleming, and her husband, Matt Rubin, who joined below. Maplecrest, NY Frederick Loewe Estate "Quintessentially Midcentury and not contrived at all" is just how EXPOSITION New Bride Christy Baird explained this Hand Springs wedding place.

This location is suitable for the contemporary (as well as stylish) bride-to-be. Christy as well as Brian's wedding, imagined here, is case in point. Hand Springs, CA Ballyfin This 5-star luxury lodge in the heart of Ireland's countryside is set at the foot of the Slieve Blossom Mountains. Below, you'll find no distractionsjust pure love, background, as well as design.

Laois, Ireland Four Seasons Ocean Club From The Cloisters to the Versailles Gardens and also Balcony, this Bahamas sanctuary on Paradise Island will certainly offer you with the very best of both globes: a traditional coastline wedding event and worldly getaway all in one, topped off with the level of solution one expects whenever they lay their head at a Four Seasons.

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With the upcoming Parenthood gamepack, I feel like it's the perfect time to share some tips regarding the tidious process of furnishing younger sims rooms. Some people love it, some don't but we're all on the same page regarding this fact : they all tend to look exactly the same.

It's not only due to the lack of contents for younger sims – which the new pack will partially resolve. But mainly because we all have our own aesthetic, tastes and favorite items and it's hard to put them on hold, even for once. Since I've noticed my kids rooms similarities I tried the hardest to make unique creations which fit their personalities.

Plus, for story-telling purpose it's always good to have very different locations with unique ambiances to visit. With some easy steps, I'll show you how I customize my kids rooms. Of course, there's not only a way to do so. There's endless possibilities and methods. If you check others simmers pictures, you’ll see incredibles ideas and hacks !

The Sims 4 motto is based on uniqueness of each sims. We all agreed that our virtual families still need improvements but it's on a good way. Nevertheless, kids already have a good amont of traits to choose from. Traits can be used a a direction to customize their personal space : active sims can have a ball in a corner, book-worm books near their bed, foodie some fruits posters hang here and there... Same goes for their aspiration !

Imagine walking in your friend's room for the first time : you've some clues of their personalities and tastes by just by taking a look. I try to have the same feelings with my sims.

In general, simmers tend to make “girls rooms” and “boys rooms” with some very significant changes depending on the gender of the kid. I used to do the same but since awhile I like to have neutral gender rooms - or at least, less “genderized” rooms.

Of course, it’s not really obvious at the first look but I’m really working on it. I sincerly think it’s more realistic to have “neutral rooms” for kids because all girls don’t like princess and dolls, and all boys don’t like trucks and robots. It’s more complex than that. Time to time I put some “boys games” on girls rooms and vice versa. I really encourage you to, at least, give it a try and see what happens !

Whatever is your gameplay, some of your sims most likely have a background you imagined or shaped for them. That's my case : I do know their names and what they went through. I've some kids who live in two separate houses because their parents are now divorced ; Kids who don't like to spend their time inside and prefer to play with neighbours ; Kids who just love video games and TV so much ; Kids who live with their grand-parents or uncles and aunts ; Some who've lost their parents and a few of them are adopted.

Well, you've the picture : it's all very diverse and for me it's essential to find this diversity in my kids rooms. For example, adopted kids tend to have tons of toys, new clothes and stuff because I imagine the parents to be so happy to have a kid that they just can't stop buying things. Plus, they waited a very long time to welcome this little girl or boy !

At the opposite, kids who live in fosters homes (I actually have 2), do not have a lot of personal stuff. Their room is nice but it obviously lacks of customization because it's not really « their » home and it's an awkward situation for them. Each background can explain how the room is actually set up. Their room must be just like reading a story. Theirs.

Small houses, manors, cottage, loft, apartments, all kids don't belong to the same social group. And, obviously, their families don't have the same financial funds.

If you want to be realistic, try to fit the household revenue : poor families usually don't have a lot of things to give to their kids, and as a consequence their room might be a little bit empty. If it's a large families, kids tend to have missmatched items because they got stuff from older siblings, cousins, sales or maybe even from charity. Also, if your sims have siblings and they do share their room with them, try to give everyone a small space : it can be a special item that the other one won't ever use, a color theme, photos of their friends, an half-wall... pretty much anything !

I usually make 3 differents spaces in a kids room :

a space to play

a slace to learn

a slace to rest

You can underline these various areas with rugs or differents colors. Last but not least, if your sims share their room with a twins, a older or younger siblings try to make it look obvious who's spot is who's.

Small or big ? Depending on your house layout or household funds, the kids rooms is still an important part of your lot.

I usually took about 1,5K up to 3K to furnish them. Here in France, Kids are a big part of our culture. There's a lot of stuff specific for them (clothes or food lines, objects, parties, special vacations...). For example, when you buy a house here, kids rooms are bigger than parents ones – which is not the case in other architural styles. Anyway, if I've a several kids in a sims family in like to put the younger one near to the parents bedrooms or downstairs (easier to keep an eye on).

As for the actual proportions, it's really up to you : do you want to give a lot of space to your kids ? or do you don't really care that much of what they're doing ? do you plan to take a lot of screenshots inside ? All of these are questions you should adress at some point ; especially the last one. If you want to take pictures of your kids sims playing, try to make a square room (6x6 is a good start). I think square room is the easiest to play with.

But your sims can also have a room in the attic, or a really tiny one... If you don't have a lot of space you'll need to prioritize what's the most important for them : a quiet place to do their homework ? somewhere to do some crazy experiments ? or just chill and dance to some pop music ? There's so much they can do and such a little space to fill ! In my game, I usually put 2 activities per kids rooms (for example, piano or a radio for shy sims who don't want to show off their poor skills to their families).

There's a fair amount of things kids can do – even with the base game only ! They can dance, play instruments, collect things... If your sims love to do something, feel free to gives some hints here and there.

In my game, I love to see my kids collecting and if they bring something I end up by placing the new item on a shelf, their desk or near their windows. I think it's a cute addition and it makes their personnal space a little bit more 'special' (''Look ! It's Trevor... I think he's depress''). You can also pretend that your kids have a lot more of things going on by placing items under their beds or on top of their dressers.

For my kids rooms I usually ending up by picking 2 or 3 main colors with some neutral tons such as white, beige or even brown. Since a few months, I try to use a swatch I never really paid attention to as a start (a rug, a lamp or even a door). There's so much awesome objects we've and that we barely use. For real, I often discover new swatches and I doubt some people know that it even exist ! So dig the swatches more and try to pick this color as a pattern.

All colors have a meaning and I like to give colors following their personnalities or past. Also, don't use too much bright colors as main patterns : it's a real headache when you're plaing... and don't make all your room with one color like yellow walls, yellow bed, yellow toys. It's not realistic and it's not really pretty – according to me, it's just my personal thought. Play with the complementary colors, the textures and the lightings !

Well, most kids are afraid of the dark. So you have to put extra lightings comparing to an adult room (and no candles, please, lol). Some lights in the game are way too bright in small rooms and some don't even do their job. For kids rooms I use some weak hanging light (or I just decrease their brightness) and I add some floor lamps and wall-lights (about 3 or 4). What I love to do is to automatically deactivate all lights, except one. Then, when they're asleep they only have their very cute lighting shining in the darkness. Besides, you can chose another color light which is a really cute addition.

We can't tell it more : clutter is life ! Put some mess, hang their paintings on the walls, size up some items to make it look different, it's all up to you. Dig the debug objects catalogue and re-use items differently. Hang posters, overlap stickers.. Be imaginative !

For more Kids items, I recommand these packs : Kids Rooms Stuff Pack, Christmas Free Update, Parenthood Gamepack.

Cheats codes :

bb.moveobjects

bb.ignoregameplayunlocksentitlement

bb.showhiddenobjects

Tools :

Check for paintings or photos by references in the Gallery

I’ve upload a room named “Kids Drawing” in the Gallery

Also, it's good to take a look at some inspiration catalogues such as Ikea Kids, Pinterest or Houzz.

Others tutorial you might find useful... :

Bunk Beds, by Holliebb

Taking interior pictures, by Jenba

How to make objects tiny, by Jovan Jovic

How to pick a great color palette, by Design-sketchbook

How to buid cc-free, by ohthesefaces

Note : All the pictures above are from my game and are personal creations. :)

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So I had been thinking we would never get through all that stuff we wanted to do in Florence, but Kate did such a damn fine job navigating and Florence is so damn walkable that we actually achieved a great deal of stuff yesterday and we don't really have that much left to do :o Well nah we still have plenty to do it's just suddenly become much more manageable 👌🏾 Turns out that through sheer dumb luck the day we wanted to go to the Galleria degli Uffizi happens to be the free day, which is exciting because we've missed the free day everywhere else! (It seems that almost every museum/ gallery in Europe (well France and Italy at least :P) has a free day one Sunday a month! :o) Of course, I only discovered this after I'd spent a loooooong time trying to book tickets and discovered that the reason I couldn't book any through any service at all was because it was gonna be the free day 👌🏾🙏🏽🎉 I don't think that's my fault though I mean why did none of the websites tell me? :O Wah! :O So anyway we knew we would have to be there real early to avoid a huge queue so we set alarms for the appropriate times and then slept through them and showed up at 11 or something and waited in line for an hour to get in 👌🏾 Which was actually pretty fun because, as you may have guessed, the gallery is another stop on the Hannibal Tour and what could be bad about standing around for an hour wondering where ur boys were standing for the juicy shots in the juice show 👌🏾 Also, I ate my cheese snack and SWEET LORDY was it all things fun, whimsical and delicious 👌🏾 Only bad thing was that we were sandwiched between two pairs of very smoochy straights and the back pair liked to stand waaay too close to us so that was unpleasant for everyone! And some other straights pushed in when we were right at the end of the queueing!? Curse them all! :) The gallery was real real nice but it seemed very small at first and then turned out to be enormous so we didn't have time to look at everything. Saw a cool wall of seven ladies being the seven sins in these big ass portraits and that was cool, and then right after I'd looked at that, Kato came to get me and was like hey so come here and she showed me this big painting of some woodland people and I was like hey that's nice but just didn't even realise that that was the primavera which was literally the painting we had come specifically to see and dang man that was funny! What a silly fool I am! I didn't even remember what it looked like I just knew Hannibal likes it so I wanted to see it too 👌🏾 So we did that a little more and then we bought some overpriced sandwiches and I attempted to order mine in Italian but the woman didn't understand me so I had to do it in English 😭 We checked out the piazza della signora which is not in Hannibal but is in assassin's creed which is our secondary tour inspiration here in Florence, and that was nice. Bought some red bull for Kato. Sat in the square. Heard two boys in suits start busking with a bucket drum kit and an electric guitar and majorly kick ass at it 🙏🏽 Then we went back and checked out the Medici Riccardi square because we had only been to the house/museum thing yesterday and that was cool too! Then we went to see the Basilica di Santa Maria Novella (top tip: the authorities in Florence just loooove naming things after the new saint maria, and people on nbc's "Hannibal" just loooooove walking past them!). That was dope on the outside and on the inside and we were at just the right time to see this rainbow of light moving across the wall which was pretty cool to watch :o When we came back out there was a guy who tried to pull the same scam on us where he asked us the time and then tried to give us a little elephant figure (that was probably either full of drugs or crack cocaine, or, most likely of all, both) twice which was hilarious 👌🏾 The last thing on the agenda for the day was to go back to the Palazzo di Michelangelo at the sunset when it wasn't pouring with rain and watch that. This was another excellent plan concocted by Kato. Unfortunately we had to wait for the bus to get up there because we didn't want to walk all that way again, and we went to the supermarket to buy supplies while we were waiting, so we missed one bus and had to wait for the next one, so the sun set magnificently while we were waiting and while we were on the bus, and it was basically set by the time we got there so we didn't really get to see it :( But no matter! The bus had tinted windows that made it seem way darker than it actually was, so when we got off it was like wow nice, some light is still here :) And it was sooooo busy without the rain! And everyone was crowding the railings trying to get their foolish "tourism photos" and getting in the way of our real work which at that time meant finding where our boy Lawrence was stood for some shots he did in the show 👌🏾🙏🏽 We got the shots and walked down the steps from yesterday to one of the restaurants we had passed. Because we didn't properly think about it we ordered bruschetta and a margarita pizza so we essentially had two slightly different versions of the same thing, but hey it worked out alright 👌🏾👌🏾 And then we walked back and it wasn't raining and we saw cool sculptures down by the edge of the river and all was well in Italy town 🙏🏽

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An easy summer rustic tart that makes the most of ripe and juicy seasonal tomatoes. This tomato galette has a beautifully crisp and flaky pastry. It’s topped with a layer of basil pesto which is then covered in colourful cherry tomatoes. Delicious served either warm from the oven or cold next day.

Galettes are now my favourite form of tart to bake, be they savoury or sweet. They’re just so much easier to make than a classic tart or pie. There’s no need for any pre-cooking before the tart is assembled and goes into the oven. No tin is required either, which means less faffing about and less washing up – hooray!

What’s a Galette Anyway?

The word galette is a French noun derived from galet, which means pebble. It’s usually used to describe a form of flat round dough. This could be a cake, biscuit, crèpe, bread or pastry. These days, the term mostly refers to a rustic tart, as in this tomato galette, which you free-form into a round rather than shape in a tin. You may or may not fold the pastry up over the edges. In fact, I’ve sometimes made this particular galette as a completely open tart, as in the photo below.

As you can see, this tomato galette is easily adaptable. For this one, I didn’t use a rolling pin at all, just my hands. I also used a few less less tomatoes but added some spring onions. The Italians refer to this type of free-form tart as crostata.

Tomato Galette with Basil Pesto

In the summer months, I often make this rustic French inspired tomato tart. As tarts go, it’s a pretty easy one to make. It can be on the table from start to finish in less than an hour. It’s a good one to make for friends as, despite its rustic appearance, it has a wonderful aroma, looks really appealing and is absolutely delicious. We tend to enjoy it with a large serving of zingy green salad.

Tomatoes and basil are a classic pairing and there’s a good reason for it. They seem to both compliment and bring out the flavours of the other at the same time. They are paired all over the Mediterranean, but particularly so in France and Italy it seems. One of Italy’s most famous salads features tomatoes, basil and mozzarella cheese. Here’s my version of it, Caprese salad bowl for one.

I’ve used wholemeal spelt pastry in this recipe. It’s delicious and always produces a gorgeous flaky result. But if you’re in a real rush or just can’t be bothered, use shop-bought pastry. Likewise homemade pesto is generally much nicer than the commercial stuff and it’s really easy to make. But again, sometimes life just gets in the way, so you can easily substitute bought pesto for homemade if you need to.

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Roll out pastry.

Spread with a layer of pesto, leaving a centimetre or so clear around the border.

Top with halved cherry tomatoes.

Fold the edges up and over the tomatoes.

You’ll probably find it hard to resist finishing this tomato galette immediately; it’s especially good warm from the oven. However, any leftovers will perk up the morrow’s lunch box no end, so if you can muster up some restraint, it’ll be worth it.

Wholemeal Spelt Pastry

This pastry recipe is my absolute favourite homemade pastry. It’s easy to make, rolls well and produces a beautiful flaky crust. The secret to its success, is wholemeal spelt flour and yoghurt. The yoghurt binds the dough together, but keeps it light and the spelt gives a nutty and slightly sweet flavour. I’ve added some ground cayenne pepper to the pastry to give it a little additional oomph, but this is entirely optional.

Homemade Basil Pesto

The amount of pesto given in this recipe is more than you’ll need for the tomato galette. But it will keep in the fridge for a few days and you can use it in any number of ways. It’s perfect for pasta, of course, but it’s also delicious in sandwiches, forked through rice or quinoa, mixed into cooked vegetables or simply spread on crackers.

All you need to do, is add the pesto ingredients into a blender and whizz it into a paste. I used my power blender, the Optimum Vac2* for this pesto, but you can easily use a food processor instead.

Homegrown Tomatoes

We’ve managed to grow quite a few tomatoes this year and all of them outdoors. They’re the most delicious tomatoes I’ve had in a long time and we’ve saved them specifically for eating just as they are or in a salad. CT grew the cherry tomatoes, pictured below, at work. They’re also very good and are perfect for making this tomato galette.

Cherry tomatoes work particularly well in this type of tart. They’re small enough so that you can just cut them in half. And if you place them skin-side down, they’ll mostly contain their juice. On the other hand, you’d have to slice large tomatoes which would allow the juice to leek out all over the dough and the edges of the tin. This not only creates an awful mess, but it produces a wet and soggy dough.

For me, chilli and tomatoes are a match made in heaven, so I sprinkle a few chilli flakes over the top of this tomato galette. The same goes for this though as it does for the pastry, any chilli is entirely optional. Reduce or increase the amounts depending on how ‘hot’ you like your food.

More Galette Recipes You Might Like

Double blackberry chocolate galette

Gooseberry galette

Green vegetable galette

Rhubarb galette with orange flaky pastry

Roasted beetroot galette (with puff pastry)

More Pesto Recipes You Might Like

Carrot top pistou with lemon (vegan)

Fat hen & chickweed pesto

Hedgerow pesto with hazelnuts

Parsley & almond pesto

Walnut basil pesto (vegan)

Wild garlic pesto

Show Me

Thanks for visiting Tin and Thyme. If you make this tomato galette, I’d love to hear about it in the comments below or via social media. Do share photos on social media too and use the hashtag #tinandthyme, so I can spot them. For more delicious and nutritious recipes, follow me on Twitter, Facebook, Instagram or Pinterest.

Tomato Galette. PIN IT.

Tomato Galette with Homemade Pesto – The Recipe

Tomato Galette with Homemade Pesto

This easy summer rustic tart has a beautifully crisp and flaky pastry topped with a layer of basil pesto which is then covered in cherry tomatoes.

Pastry

250 g wholemeal spelt flour

150 g unsalted butter

pinch of sea salt

3 tbsp yoghurt

½ tsp ground cayenne pepper or chilli powder of choice ((optional))

Basil, Almond & Cheddar Pesto

50 g basil

50 g almonds

50 g mature cheddar cheese

1 clove garlic

1 pinch sea salt

50 ml extra virgin olive oil + a little for drizzling

35 cherry tomatoes – halved ((multi-coloured ones are fun))

½ tsp chilli flakes ((optional))

Pastry

Cut the cold butter into the flour, chilli and salt with a knife, then either rub between finger tips or pulse in a food processor until the mixture resembles coarse breadcrumbs.

Stir in the yoghurt with a knife until the mixture comes together into a ball.

If the dough is too soft to roll immediately, cover and leave to rest in the fridge or a cool place for ½ hr. I generally have a cool kitchen, so I tend to roll mine out straight away.

Roll out on a floured surface into a rough circle, about 4mm in thickness.

Place on a baking tray lined with baking parchment.

Basil, Almond & Cheddar Pesto

Blitz the basil, almonds, cheese, garlic and salt in a blender or food processor until roughly ground. I've been using my Optimum Vac2 blender* for this recently.

Add the olive oil and blitz again until you have a rough paste.

Spread a thin layer of pesto over the pastry leaving a border of about 1 cm.

Cover the pesto with the tomato halves cut side up, but leaving a border of about 1 cm from the pesto edge. Drizzle a little olive oil over the tomatoes and scatter the chilli flakes on top if using.

Fold the 2 cm edges inward over the filling, tucking the pastry in as you go. You should have a large (ish) open centre with the tomatoes shining out..

Bake in a pre-heated oven at 200℃ (400℉, Gas 6) for about 25 minutes when the tomatoes should be cooked and the pastry crisp and golden.

Serves 6 – 8 people depending on how hungry they are and what you serve with the tart.

You will make more pesto than you need for this recipe. Place the unused pesto in a jar, pour over a thin layer of olive oil and seal. Will keep in the fridge for a week or so. But once opened, eat within three days.

Excellent served with a zingy green salad.

Please note: calories and other nutritional information are per serving. They’re approximate and will depend on serving size and exact ingredients used.

Sharing

I’m sharing my tomato galette with Jo’s Kitchen Larder and Apply to Face Blog for #BakingCrumbs. I’m also sending them to #CookBlogShare, which is hosted this week by Chipa by the Dozen.

This post contains affiliate links to Froothie Optimum products*. Links are marked with an *. If you buy through a link it won’t cost you any more, but I’ll get a small commission. Thanks to my readers for supporting the brands and organisations that help to keep Tin and Thyme blithe and blogging.

Tomato Galette with Homemade Basil Pesto An easy summer rustic tart that makes the most of ripe and juicy seasonal tomatoes. This tomato galette has a beautifully crisp and flaky pastry.

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Museum Series: The Louvre

For a post on such a worldly museum, I contemplated just showing pictures (not that I have many good ones), since no amount of words can possibly express the fascination and awe that took place here. But seeing as it was my second time here, and I should probably delve deeper for the sake of my research and capstone, I decided to narrow my scope and focus on a few specific topics instead. 

The museum has a long history but is not alone in the tradition of royal-palace-turned-art-museum museum typology. This is because Kings, Emperors and the royalty in general were the main patrons of fine art like painting and sculpture, and so they accumulated a great number of works by the best artists in the nation. For the Louvre, it was King Francis I who started the collection that millions of tourists will come from all over the world to see almost 500 years later. However, the royal art collection was private and not open to the public until 1793, when the French revolutionary government created the first national art museum for the public in the spirit of the Enlightenment. And that museum was called Musée Central des Arts, situated in the Grande Galerie of the Louvre. 

Today, apart from being housed in the exquisite, monumental royal palace, the museum also reveals its long history through its symmetrical and enfiladed layouts - something unique to traditional museums. 

Projet d'aménagement de la Grande Galerie du Louvre This is a painting that I came across in my research on museums last semester. It’s by a French artist called Hubert Robert, and in the same gallery, are his other paintings of the ancient ruins in Italy and France.

I only came to know about paintings of ancient ruins when we were having Patrick’s history of interior design classes. The paintings and drawings were made popular by tourists on the Grand Tour, who wanted a souvenir to take home from their trip. And somehow, since then, I myself started to become fascinated with those romanticized portrayals of the ancient architecture. And this trip to Europe, which has let me see some of those great architecture for the first time in real life, made me more appreciative of both the structures themselves as well as depictions of them. Throughout my time in Rome and Venice, I tried to look for a postcard with the drawings of Panini and other artists depicting such ancient ruins, but was deeply disappointed when I didn’t find any on the entire trip. So seeing these paintings sort of made up for that, except I still didn’t get any of them in postcard format. 

Ancient Rome, by Giovanni Paolo Panini, 1757. 

Modern Rome, by the same artist done in the same year. 

The Embarkation for Cythera. I only learned after returning from Paris, that this is Monet’s favorite painting in all of the Louvre. Good thing I took a photo of it then, haha! 

I spotted a brilliant gallery directory. Apart from just showing the wings, plan and circulation, these models also have miniature models of famous artworks in the corresponding galleries. 

Besides the art, even the wayfinding signs are so world-class at the Louvre. The white and golden shapes of the museum are slightly elevated, and uses such a great combination of visuals and touch to cater to the visitors. This is something I should definitely apply in my capstone. 

And of course, no visit to the Louvre (nor blog post on the Louvre) will be complete without a photo of the gazillions of people trying to take a selfie with Mona Lisa so here it is. Yes, I know, I know.

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20 Advice That You Must Listen Before Embarking On Yellow Foxglove | Yellow Foxglove

For years, I accept been alleviative accompany as enemies. Every June, I accept been affairs up alien foxgloves and throwing them away. I now appetite them back. They add height, history and charm. They are accomplished in burghal gardens. They deserve to be adequate to my garden’s apparel as Lane Foxgloves. Now is the time to do it.

They accept already been accepting an alive year in the accessible eye. In autumn aftermost year, foxgloves fetched a almanac £160,000 in a painting by a British artist. Alpine white foxgloves with handsome aphotic arrangement angry up at bargain on a abstruse canvas that Cedric Morris, its painter, had accustomed to accompany in the aboriginal 1960s.

Morris’s acclaim as a gardener, iris agriculturalist and artisan has been reasserted by contempo books and exhibitions, but these foxgloves are in absolute action and accept taken prices for his assignment to a new level.

In his Suffolk garden at Benton End, Morris grew and admired foxgloves. He never pulled them up in following of tidiness. His artist’s eye saw the breeding of self-sown visitors and the amount of the able vertical band of their fasten of flower.

Meanwhile, from October to mid-January, the National Account Gallery showed added adept beauties, the changeable models, muses and lovers whom Pre-Raphaelite artists corrective in the mid-19th aeon with garlands or bouquets of flowers. In Scotland in 1853, John Everett Millais corrective sketches and portraits of Ruskin’s wife Effie, one of which shows her with a album of agrarian foxgloves encircling her beard while she sits and attends to her needlework.

After bristles years, the Ruskins’ alliance was still

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Eliminate Your Fears And Doubts About Action Painting | Action Painting

Issued on: 02/07/2020 – 16:34Modified: 02/07/2020 – 16:34

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A French cloister has disqualified that a ignment by Impressionist painter Camille Pissarro is to be alternate to its aboriginal owners, a Jewish ancestors of art collectors, 77 years afterwards the painting was confiscated during the Nazi activity of France.

The accommodation ends over 70 years of acknowledged altercation for the birth of Simon Bauer, a Jewish agent and abecedarian art beneficiary who died in 1947.

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American collectors Bruce and Robbi Toll accept consistently maintained they had no abstraction Picking peas, corrective in 1887, had been looted aback they bought Pissarro’s ignment for 800,000 dollars through an bargain at Christie’s in New York in 1995.

France’s accomplished cloister on Wednesday upheld a 2018 cardinal acclimation the amends of the painting to its aboriginal owners, the Bauer family.

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The accommodation was based on a decree accounting on 21 April 1945, advertence that buying of items acquired through looting would not be recognised.

Lawyers for the family pointed out that, alike if the new owners had no abstraction that the painting had been stolen, they could not pretend to be the acknowledged owners.

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“They are actuality punished for crimes committed by the Vichy regime,” the Tolls’ advocate Ron Soffer told the press, apropos to the annex of the French government which collaborated with the Nazis during the Second World War.

In a statement, the Bauer family’s lawyer, Cédric Fischer, commended the decision, calling it “historic”.

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Have you ever heard of Provence France? It is one of the most attractive and popular regions in the south of France. The Provence is ideal for summer to early autumn vacations for its sunny weather, colorful countryside, wine, food, and especially it’s lavender fields.  

The Provence France region covers a large domain in the country, from the Mediterranean Sea up to the French Alps. Its main attractions involve the city of Avignon and the wide variety of picturesque villages. 

The Provence department includes Alpes-de-Haute-Provence, a mountainous northern part that attracts around 34 million tourists. Alpes-Maritimes, mostly known for the French Riviera. Bouches-du-Rhône, known for its rural landscape of the Alpilles, the picturesque village of Cassis. 

Hautes-Alpes, part of the French Alps, considered the highest region in Europe. Var, for its seaside resorts and famous Romanesque and medieval architecture. Lastly, Vaucluse specifically noted for the Luberon and scenic villages. 

Read my previous posts Things to do in Avignon France, the Capital Town of Vaucluse Guide to The Famous Bridge “Pont d’Avignon”

Bienvenue en Provence France

For our family vacation, we went to Southern France (en Provence). It was an 8-hour road trip, from Belgium to Saint-Saturnin-lès-Avignon. A commune in the Vaucluse department in the Provence-Alpes-Côte d’Azur region in southeastern France. We rented a residential house for the whole family for a vacation.

It was my first-time vacation with the whole family and first to visit en Provence as well. On our first day, since we arrived late in the afternoon, we’ve decided to rest and called it a day. However, on our next day, we went out to visit the environs (vicinity) of Provence.

My plans for this short vacation was to visit some of the gorgeous spots of Provence and as well as to try some delicious regional cuisine. Some of the dishes that I’d love to try are Daube, or Provençal beef stew, cooked in wine. Pissaladière, Escabeche, another popular seafood dish, and a lot more.

On the road to Exploration

Starting on the next day, we were en route (on the way) to see a sneak peek of the picturesque view of the roads from Saint-Saturnin-lès-Avignon, Jonquerettes, Le Thor, L’Isle-Sur-la-Sorgue, Lagnes, and many more.

The next day was very sunny and charming. The sun is up and the sky is perfect as the blue sky in movies. The Provence road seems narrow and but very neat and beautiful. Of course, with the rich landscape of nature, you’ll definitely fall in love. So let’s start our one-day itinerary in Provence France.

One Day Itinerary en Provence France



Lavender Museum (Musée de la Lavande)

Let’s begin the day with a quick visit to the closest Lavender Museum (Musée de la Lavande) in Coustellet. Located 30 minutes’ drive from where we stayed, it was our first destination.

Reading some of the pamphlets given by the concierge of our rented place, Musée de la Lavande caught my eye. I’ve decided to visit that place to see some lavender fields and as well as to get to know more about lavender.

The Lavender Museum was founded by Lincelé Family in 1991. By inviting visitors to discover the true lavender of Provence, Fine Lavender.

Lavender Field of the Museum

Visiting the Museum would take you to the immense collection of lavender stills from the 16th century to the present day.

Don’t ever miss to visit the projection room with documentaries filmed at the Chateau du Bois at the base of Mont-Ventoux. On planting, harvesting and the distillation of fine lavender from Haute Provence.

The museum shop is also offering a particular line of natural cosmetics (high-quality ‘Chateau du Bois’ line features AOC essential oil of fine lavender).

The tour is available in 11 foreign languages (French, English, Italian, German, Chinese, Spanish, Dutch, Portuguese, Russian, Czech, and Japanese) free of charge on the audio-guides, giving a helping hand to those foreign visitors who’re interested in Lavender.

Travel Tip: Lavender Museum does have a smalle lavender field in front of the museum and its backyard as well. It’s not a long one, but very charming and beautiful. Nevertheless, if you’re searching for a much longer and bigger field, then you should keep searching around the area.

Landscape view on the road

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Enjoy some of the most beautiful and breathtaking views on the road (Coustellet, to Gordes, Joucas, Lioux, and Sault)

My favorite and unexpected view was when we arrive at the highest part of the road was Lioux. With an imposing and magnificent cliff (Falaise de la Madeleine) of grey limestone is a completely separate formation from the red ochre cliffs of Roussillon.

Lavender Fields in Monieux, France

Indeed, Musée de la Lavande (Lavender Museum) has a prominent lavender field to offer. But I’m still searching for a bigger and longer field. Asking the receptionist at the museum, where can we find beautiful fields en Provence France.

They told us to go further north, in Sault. We opt to search for the perfect lavender field in that area.

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Driving from Lavender Museum to Sault would normally take about 45minutes to an hour. While discovering and enjoying the magnificent view of roads in Provence France, we had a short stop every time a see a lavender field.

Our first picture-perfect lavender field was finally spotted in Monieux. It was in a lovely violet color well bloomed lavender flowers.

Generally, the best time to see the lavender field in full bloom is between July and August. But it really depends on the time the plantation. As we were in the Avignon part, lavenders weren’t that well flowered yet.

Lavender Field #2 in Monieux

Lavender Field #2 situated a few meters away from the first lavender field that we saw in Monieux.

The commune of Monieux is located on the plateau of the Mounts of Vaucluse, near to the commune of Sault. It shelters on its territory part of the classified sites “Reserve of Biosphere” of the Ventoux Mount.

We parked the car on the side of the driveway and quickly took some photos of this captivating field. This time I was captivated by its radiant blue-violet color, very attractive and impulsive when it comes to its blueness and purpleness.

The only negative side of the 2nd field? The lavender flowers weren’t totally blossomed yet. It’s a bit sad, but that’s the reality. I would really love to see it well blossomed in its fullest.

What do you think about the 2nd lavender field? Is it êrfect enough for your taste?

Lavender Fields View from Sault, Provence France

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As we go on further to reach Sault, we stopped by in this small quaint area. There, we saw some of the biggest spectacular lavender fields we’ve ever seen in Provence France. Starting from Ferme Buan, La Broussière, down to Le Moulin Fournon and La Serène. All of these areas have their own pride in lavender fields.

I would never forget this place, check it out on the itinerary list cause it might just help you see the most beautiful fields of Provence.

Montbrun-Les-Bains

Continuing the road, we passed through Sault. And now, we’re on the road to Aurel. Finally, we’re entering the way to Montbrun-lex-Bains and, a luminous panoramic view welcomed us.

Montbrun-lex-Bains is the land of aromatic plants and herbs, located between Reilhanette and Barret-de-Lioure. It is a well-known commune, for its spa treatments for respiratory disease and other medical disorders. The village is also very popular with cyclists, with cycle tracks leading to Mont Ventoux.

Accordingly, Montbrun-Les-Bains is classed among the 100 most beautiful villages in France. This village is spared the summer heatwaves. Thanks to its elevated height while the surrounding relief protects it from the strong Mistral wind.

Every year in Ferrassières, (a village situated 8km from Montbrun) The Lavender festival takes place on the first Sunday in July. You will also find linden, thyme, rosemary, savory, clary sage for perfumes, and the common sage (used in pharmacology and cooking), marjoram, tarragon, and oregano.

Aulan Castle (Château d’Aulan)

Château d’Aulan is built on a rocky outcrop overlooking the Toulourenc valley. The Aulan castle whose first traces date back to the twelfth century belonged to the Mevouillon barons.

Isabeau de L’Espine (heiress of the fief of Aulan) married François-Marie Suarez and bring the castle in dowry. The castle has been completely redesigned in a Viollet-Le-Duc style in the second half of the nineteenth century by Marquis Arthur Suarez d’Aulan.

Château d’Aulan is the only private Baronnies residence opened to visitors. The guided tour takes 45 minutes. You will discover through living rooms, dining rooms, bedrooms, many objects related to the Second Empire and the family history.

Today it is still owned by their descendants, the Suarez of Aulan and a place for a family gathering.

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Arriving at Château d’Aulan was the most difficult part of all the road trips that we have experience. The path to the castle was so narrow and raw, which makes us very nervous passing through it.

At last, we reached Aulan castle, and it was fantastic! The view from the outside was unquestionably historical. I could absolutely feel the intensity of the story behind this castle. I would really recommend you to visit it.

Travel tips: If you’re going to Aulan Castle, don’t forget to bring a small car with you. A large or bigger car would be a struggle to go there. Guided tours available in English and French. Admission fee: Adult: 7.50 € and Child: 2.50 €.

The Secret Spring

Deciding to go home after our visit to Aulan Castle, we floundered into something very surprising. We found a secret spring hidden just near the bridge to Aulan Castle.

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Even though we didn’t have space where to park the car for a moment. We still dared to parked it for some minutes, just to take photos of the spring. People call it the Toulourenc River. A mountain stream and flows just behind the Ventoux into a natural trough of the same name, the Toulourenc Valley.

The Toulourenc can be accessed via Entrechaux or from Malaucène by following the minor road that passes close to Beaumont-du-Ventoux to reach the hamlet of Vaux. Between the hamlet of Vaux and Saint-Léger-du-Ventoux, you will find gorges you can explore on foot.

The Perfect Lavender Field

Moving on to the next stop, after visiting around the Provence France northern Azur part. We have finally find the perfect Lavender Field settled in the farm areas of Paillautrier, Montbrun-Les-Bains.

It was 10 minutes drive away from Chateau Aulan and not too far to the Montbrun-Les-Bains village. The thing that makes it more special is that the field is about 100 meters long and a solitary tree, pricked in the middle of the field.

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I strongly recommend this place for you to visit, if you are looking for that splendid and unique lavender field picturesque view, you should come to visit this side of Montbrun-Les-Bains.

Photography wise, I’ve discovered that it makes more magical feels when there’s sunlight. I took some photos, with and without sunlight, and it turns out that the effect of sunlight is better.

One Day Itinerary en Provence France

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One Day Itinerary en Provence France – Finding the perfect Lavender Fields Have you ever heard of Provence France? It is one of the most attractive and popular regions in the south of France.

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24 Sad Paintings Easy Rituals You Should Know In 24 | Sad Paintings Easy

Wrapping anybody in a complete of love, whakapapa and mauri for Matariki is the brave, animated and acceptable bolt art of Maungarongo Te Kawa, writes Amanda Thompson.

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E te Atua

Nau enei rau harakeke he taonga

Tukuna ki a matou

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Kia tika o matou mahi

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Kia tina, tina

Hui e

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‘Karakia mo Hine Te Iwaiwa’, adoration to accede Hine Te Iwaiwa for the Corners of the Heart exhibition.

Buried abysmal aural a 1991 affair of Craft New Zealand annual are a few prim words anecdotic the aboriginal exhibition of a adolescent Maungarongo (Ron) Te Kawa of Ngāti Porou. Allotment of the 1990 Body Adornment alternation assuming at The Dowse in Lower Hutt, his addition was summed up: “Ron Te Kawa produced a baby exhibition of clothes discussing a array of claimed concerns, including affected sensibility, cultural allotment and ecology concerns”.

There are no photos, I’m sad to report. Floating up from a sea of atramentous and white adverts for authentic cottony scarves or potter’s clay, it’s accessible to accept a slight air of disapproval in this book from a analysis of the appearance that allegedly featured an enormous, “overwhelming” dress sewn from drift-netting advantaged Wall of Death.

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But that was thirty years ago, and Te Kawa describes his assignment as accepting appear abounding amphitheater aback then. “Back afresh we aloof capital to be little punks, active about the streets,” he laughs. “I capital bodies to get angry. Now I appetite to complete anybody up in a complete

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