#lintels design

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LINTEL FRAGMENT, red slate sculpture ~ carving Adam Paul Heller

[inspiredlivingspaces]

thisisglamorous.com

[mangled-by-disuse]

for some reason while slightly-delirious-levels-of-tired last night i found myself just. obsessing over how we never ornament shit any more.

like, okay. the thing that sparked this was my partner's flatmate's laptop stand. it is a very basic laptop stand - it's a metal X-frame, and it has little grips on the top ends of the front, so each end is kinda like

(shh i'm still very tired i don't feel like getting my tablet out)

and I was just sitting there like... man. when else in HISTORY, when else in THE ENTIRE ARTISTIC HISTORY OF THE WORLD, would we consistently be overcoming the urge to turn that weird little grip into a carved hand? a bird with open wings? a talon, perchance?

and then looking around the flat like... this is not a nasty flat, it's not badly-decorated or anything, and the same is true of my house, but where are the ornamentations?

By ornamentations, I don't mean "things that look nice", and frankly I actually love a lot of unornamented furniture that's just a Nice Shape or just really well-made. but at some point we also lost the art of - not adding things, exactly, but integrating little decorative flourishes into the things we make and own. carving floral designs into the front of your bookshelves. embroidering your work shirts. painting little designs on your doorframes and your window shutters. carving monstrances and vines and silly little guys into the archways of your grand architecture. putting a cheeky little hand carving on the laptop stand you use for work.

tbh I think there's some answers to be found in this in my boy William Morris' writing from nearly 200 years ago, because so much of the Arts & Crafts movement was based on recognising this loss. How, as industrialisation and mass production reshape design, we move away from artisans proving their chops with little tricks of the trade, because they now have to Add Value in a way that justifies spending ten times more on something that does the same thing. How, with cottage industries hamstrung and the working classes no longer having the long winter nights to whittle spoons and weave cloth, individuals no longer tend to make the things they use. How patents and copyright trickle down to a culture where originality is found only in structural difference, in the shape and the silhouette and the things that can be noticed on first glance.

and the weird thing is, I like unornamented goods. I am a dyed-in-the-wool English Quaker and highly ornamented styles are not at all my natural habitat. the baroque gives me a fucking headache. the first thing I did when I moved into this house was be like "i am getting these overwhelming patterns and squiggly things OUT."

BUT

i also remember as a kid being absolutely enamoured of Robert "Mouseman" Thompson's carpentry. he was a local(-ish, North Yorkshire) carpenter who made furniture and also did a bunch of lecterns and rood screens for churches, stuff like that. And every piece he did, he had a signature that he added:

he was very Arts & Crafts inspired, and you can tell. his furniture on the whole was pretty simple, clean lines and carved channels. but from the 1920s until he died in 1955 he always put a mouse on his work somewhere.

but this is the ornamentation I think I miss in my life. these cheeky little touches. the mouse climbing up the altar rail. the lion feet on chairs and tables. the flowers carved out of a bookcase. braid trimming on upholstery. painted vines climbing a windowframe. stonemasons making shapes in a lintel:

not huge and dramatic and overwhelming. just... artisans, having fun. making things look special, because it's neat and because it's a way to show off and because they can.

idk. I have no conclusion. I just have an image of that laptop stand in lacquered wood with little hands and feet, like a million bookstands and folding stools and the like which were made pre-industrially, and I think I just want to live in a world where that would be. not a statement? not a one-off item?

where everything wasn't so utilitarian and so plain.

i guess what i'm saying is: i wish as a culture we made more stupid little creative choices to make the world we live in fun?

[happywebdesign]

LINTEL Studio

[inky-duchess]

Fantasy Guide to Interiors

As a followup to the very popular post on architecture, I decided to add onto it by exploring the interior of each movement and the different design techniques and tastes of each era. This post at be helpful for historical fiction, fantasy or just a long read when you're bored.

Interior Design Terms

Reeding and fluting: Fluting is a technique that consists a continuous pattern of concave grooves in a flat surface across a surface. Reeding is it's opposite.

Embossing: stamping, carving or moulding a symbol to make it stand out on a surface.

Paneling: Panels of carved wood or fabric a fixed to a wall in a continuous pattern.

Gilding: the use of gold to highlight features.

Glazed Tile: Ceramic or porcelain tiles coated with liquid coloured glass or enamel.

Column: A column is a pillar of stone or wood built to support a ceiling. We will see more of columns later on.

Bay Window: The Bay Window is a window projecting outward from a building.

Frescos: A design element of painting images upon wet plaster.

Mosaic: Mosaics are a design element that involves using pieces of coloured glass and fitted them together upon the floor or wall to form images.

Mouldings: ornate strips of carved wood along the top of a wall.

Wainscoting: paneling along the lower portion of a wall.

Chinoiserie: A European take on East Asian art. Usually seen in wallpaper.

Clerestory: A series of eye-level windows.

Sconces: A light fixture supported on a wall.

Niche: A sunken area within a wall.

Monochromatic: Focusing on a single colour within a scheme.

Ceiling rose: A moulding fashioned on the ceiling in the shape of a rose usually supporting a light fixture.

Baluster: the vertical bars of a railing.

Façade: front portion of a building

Lintel: Top of a door or window.

Portico: a covered structure over a door supported by columns

Eaves: the part of the roof overhanging from the building

Skirting: border around lower length of a wall

Ancient Greece

Houses were made of either sun-dried clay bricks or stone which were painted when they dried. Ground floors were decorated with coloured stones and tiles called Mosaics. Upper level floors were made from wood. Homes were furnished with tapestries and furniture, and in grand homes statues and grand altars would be found. Furniture was very skillfully crafted in Ancient Greece, much attention was paid to the carving and decoration of such things. Of course, Ancient Greece is ancient so I won't be going through all the movements but I will talk a little about columns.

Doric: Doric is the oldest of the orders and some argue it is the simplest. The columns of this style are set close together, without bases and carved with concave curves called flutes. The capitals (the top of the column) are plain often built with a curve at the base called an echinus and are topped by a square at the apex called an abacus. The entablature is marked by frieze of vertical channels/triglyphs. In between the channels would be detail of carved marble. The Parthenon in Athens is your best example of Doric architecture.

Ionic: The Ionic style was used for smaller buildings and the interiors. The columns had twin volutes, scroll-like designs on its capital. Between these scrolls, there was a carved curve known as an egg and in this style the entablature is much narrower and the frieze is thick with carvings. The example of Ionic Architecture is the Temple to Athena Nike at the Athens Acropolis.

Corinthian: The Corinthian style has some similarities with the Ionic order, the bases, entablature and columns almost the same but the capital is more ornate its base, column, and entablature, but its capital is far more ornate, commonly carved with depictions of acanthus leaves. The style was more slender than the others on this list, used less for bearing weight but more for decoration. Corinthian style can be found along the top levels of the Colosseum in Rome.

Tuscan: The Tuscan order shares much with the Doric order, but the columns are un-fluted and smooth. The entablature is far simpler, formed without triglyphs or guttae. The columns are capped with round capitals.

Composite: This style is mixed. It features the volutes of the Ionic order and the capitals of the Corinthian order. The volutes are larger in these columns and often more ornate. The column's capital is rather plain. for the capital, with no consistent differences to that above or below the capital.

Ancient Rome

Rome is well known for its outward architectural styles. However the Romans did know how to add that rizz to the interior. Ceilings were either vaulted or made from exploded beams that could be painted. The Romans were big into design. Moasics were a common interior sight, the use of little pieces of coloured glass or stone to create a larger image. Frescoes were used to add colour to the home, depicting mythical figures and beasts and also different textures such as stonework or brick. The Romans loved their furniture. Dining tables were low and the Romans ate on couches. Weaving was a popular pastime so there would be tapestries and wall hangings in the house. Rich households could even afford to import fine rugs from across the Empire. Glass was also a feature in Roman interior but windows were usually not paned as large panes were hard to make. Doors were usually treated with panels that were carved or in lain with bronze.

Ancient Egypt

Egypt was one of the first great civilisations, known for its immense and grand structures. Wealthy Egyptians had grand homes. The walls were painted or plastered usually with bright colours and hues. The Egyptians are cool because they mapped out their buildings in such a way to adhere to astrological movements meaning on special days if the calendar the temple or monuments were in the right place always. The columns of Egyptian where thicker, more bulbous and often had capitals shaped like bundles of papyrus reeds. Woven mats and tapestries were popular decor. Motifs from the river such as palms, papyrus and reeds were popular symbols used.

Ancient Africa

African Architecture is a very mixed bag and more structurally different and impressive than Hollywood would have you believe. Far beyond the common depictions of primitive buildings, the African nations were among the giants of their time in architecture, no style quite the same as the last but just as breathtaking.

Rwandan Architecture: The Rwandans commonly built of hardened clay with thatched roofs of dried grass or reeds. Mats of woven reeds carpeted the floors of royal abodes. These residences folded about a large public area known as a karubanda and were often so large that they became almost like a maze, connecting different chambers/huts of all kinds of uses be they residential or for other purposes.

Ashanti Architecture: The Ashanti style can be found in present day Ghana. The style incorporates walls of plaster formed of mud and designed with bright paint and buildings with a courtyard at the heart, not unlike another examples on this post. The Ashanti also formed their buildings of the favourite method of wattle and daub.

Nubian Architecture: Nubia, in modern day Ethiopia, was home to the Nubians who were one of the world's most impressive architects at the beginning of the architecture world and probably would be more talked about if it weren't for the Egyptians building monuments only up the road. The Nubians were famous for building the speos, tall tower-like spires carved of stone. The Nubians used a variety of materials and skills to build, for example wattle and daub and mudbrick. The Kingdom of Kush, the people who took over the Nubian Empire was a fan of Egyptian works even if they didn't like them very much. The Kushites began building pyramid-like structures such at the sight of Gebel Barkal

Japanese Interiors

Japenese interior design rests upon 7 principles. Kanso (簡素)- Simplicity, Fukinsei (不均整)- Asymmetry, Shizen (自然)- Natural, Shibumi (渋味) – Simple beauty, Yugen (幽玄)- subtle grace, Datsuzoku (脱俗) – freedom from habitual behaviour, Seijaku (静寂)- tranquillity.

Common features of Japanese Interior Design:

Shoji walls: these are the screens you think of when you think of the traditional Japanese homes. They are made of wooden frames, rice paper and used to partition

Tatami: Tatami mats are used within Japanese households to blanket the floors. They were made of rice straw and rush straw, laid down to cushion the floor.

Genkan: The Genkan was a sunken space between the front door and the rest of the house. This area is meant to separate the home from the outside and is where shoes are discarded before entering.

Japanese furniture: often lowest, close to the ground. These include tables and chairs but often tanked are replaced by zabuton, large cushions. Furniture is usually carved of wood in a minimalist design.

Nature: As both the Shinto and Buddhist beliefs are great influences upon architecture, there is a strong presence of nature with the architecture. Wood is used for this reason and natural light is prevalent with in the home. The orientation is meant to reflect the best view of the world.

Islamic World Interior

The Islamic world has one of the most beautiful and impressive interior design styles across the world. Colour and detail are absolute staples in the movement. Windows are usually not paned with glass but covered in ornate lattices known as jali. The jali give ventilation, light and privacy to the home. Islamic Interiors are ornate and colourful, using coloured ceramic tiles. The upper parts of walls and ceilings are usually flat decorated with arabesques (foliate ornamentation), while the lower wall areas were usually tiled. Features such as honeycombed ceilings, horseshoe arches, stalactite-fringed arches and stalactite vaults (Muqarnas) are prevalent among many famous Islamic buildings such as the Alhambra and the Blue Mosque.

Byzantine (330/395–1453 A. D)

The Byzantine Empire or Eastern Roman Empire was where eat met west, leading to a melting pot of different interior designs based on early Christian styles and Persian influences. Mosaics are probably what you think of when you think of the Byzantine Empire. Ivory was also a popular feature in the Interiors, with carved ivory or the use of it in inlay. The use of gold as a decorative feature usually by way of repoussé (decorating metals by hammering in the design from the backside of the metal). Fabrics from Persia, heavily embroidered and intricately woven along with silks from afar a field as China, would also be used to upholster furniture or be used as wall hangings. The Byzantines favoured natural light, usually from the use of copolas.

Indian Interiors

India is of course, the font of all intricate designs. India's history is sectioned into many eras but we will focus on a few to give you an idea of prevalent techniques and tastes.

The Gupta Empire (320 – 650 CE): The Gupta era was a time of stone carving. As impressive as the outside of these buildings are, the Interiors are just as amazing. Gupta era buildings featured many details such as ogee (circular or horseshoe arch), gavaksha/chandrashala (the motif centred these arches), ashlar masonry (built of squared stone blocks) with ceilings of plain, flat slabs of stone.

Delhi Sultanate (1206–1526): Another period of beautifully carved stone. The Delhi sultanate had influence from the Islamic world, with heavy uses of mosaics, brackets, intricate mouldings, columns and and hypostyle halls.

Mughal Empire (1526–1857): Stonework was also important on the Mughal Empire. Intricately carved stonework was seen in the pillars, low relief panels depicting nature images and jalis (marble screens). Stonework was also decorated in a stye known as pietra dura/parchin kari with inscriptions and geometric designs using colored stones to create images. Tilework was also popular during this period. Moasic tiles were cut and fitted together to create larger patters while cuerda seca tiles were coloured tiles outlined with black.

Chinese Interiors

Common features of Chinese Interiors

Use of Colours: Colour in Chinese Interior is usually vibrant and bold. Red and Black are are traditional colours, meant to bring luck, happiness, power, knowledge and stability to the household.

Latticework: Lattices are a staple in Chinese interiors most often seen on shutters, screens, doors of cabinets snf even traditional beds.

Lacquer: Multiple coats of lacquer are applied to furniture or cabinets (now walls) and then carved. The skill is called Diaoqi (雕漆).

Decorative Screens: Screens are used to partition off part of a room. They are usually of carved wood, pained with very intricate murals.

Shrines: Spaces were reserved on the home to honour ancestors, usually consisting of an altar where offerings could be made.

Of course, Chinese Interiors are not all the same through the different eras. While some details and techniques were interchangeable through different dynasties, usually a dynasty had a notable style or deviation. These aren't all the dynasties of course but a few interesting examples.

Song Dynasty (960–1279): The Song Dynasty is known for its stonework. Sculpture was an important part of Song Dynasty interior. It was in this period than brick and stone work became the most used material. The Song Dynasty was also known for its very intricate attention to detail, paintings, and used tiles.

Ming Dynasty(1368–1644): Ceilings were adorned with cloisons usually featuring yellow reed work. The floors would be of flagstones usually of deep tones, mostly black. The Ming Dynasty favoured richly coloured silk hangings, tapestries and furnishings. Furniture was usually carved of darker woods, arrayed in a certain way to bring peace to the dwelling.

Han Dynasty (206 BC-220 AD): Interior walls were plastered and painted to show important figures and scenes. Lacquer, though it was discovered earlier, came into greater prominence with better skill in this era.

Tang Dynasty (618–907) : The colour palette is restrained, reserved. But the Tang dynasty is not without it's beauty. Earthenware reached it's peak in this era, many homes would display fine examples as well. The Tang dynasty is famous for its upturned eaves, the ceilings supported by timber columns mounted with metal or stone bases. Glazed tiles were popular in this era, either a fixed to the roof or decorating a screen wall.

Romanesque (6th -11th century/12th)

Romanesque Architecture is a span between the end of Roman Empire to the Gothic style. Taking inspiration from the Roman and Byzantine Empires, the Romanesque period incorporates many of the styles. The most common details are carved floral and foliage symbols with the stonework of the Romanesque buildings. Cable mouldings or twisted rope-like carvings would have framed doorways. As per the name, Romansque Interiors relied heavily on its love and admiration for Rome. The Romanesque style uses geometric shapes as statements using curves, circles snf arches. The colours would be clean and warm, focusing on minimal ornamentation.

Gothic Architecture (12th Century - 16th Century)

The Gothic style is what you think of when you think of old European cathedrals and probably one of the beautiful of the styles on this list and one of most recognisable. The Gothic style is a dramatic, opposing sight and one of the easiest to describe. Decoration in this era became more ornate, stonework began to sport carving and modelling in a way it did not before. The ceilings moved away from barreled vaults to quadripartite and sexpartite vaulting. Columns slimmed as other supportive structures were invented. Intricate stained glass windows began their popularity here. In Gothic structures, everything is very symmetrical and even.

Mediaeval (500 AD to 1500)

Interiors of mediaeval homes are not quite as drab as Hollywood likes to make out. Building materials may be hidden by plaster in rich homes, sometimes even painted. Floors were either dirt strewn with rushes or flagstones in larger homes. Stonework was popular, especially around fireplaces. Grand homes would be decorated with intricate woodwork, carved heraldic beasts and wall hangings of fine fabrics.

Renaissance (late 1300s-1600s)

The Renaissance was a period of great artistry and splendor. The revival of old styles injected symmetry and colour into the homes. Frescoes were back. Painted mouldings adorned the ceilings and walls. Furniture became more ornate, fixed with luxurious upholstery and fine carvings. Caryatids (pillars in the shape of women), grotesques, Roman and Greek images were used to spruce up the place. Floors began to become more intricate, with coloured stone and marble. Modelled stucco, sgraffiti arabesques (made by cutting lines through a layer of plaster or stucco to reveal an underlayer), and fine wall painting were used in brilliant combinations in the early part of the 16th century.

Tudor Interior (1485-1603)

The Tudor period is a starkly unique style within England and very recognisable. Windows were fixed with lattice work, usually casement. Stained glass was also in in this period, usually depicting figures and heraldic beasts. Rooms would be panelled with wood or plastered. Walls would be adorned with tapestries or embroidered hangings. Windows and furniture would be furnished with fine fabrics such as brocade. Floors would typically be of wood, sometimes strewn with rush matting mixed with fresh herbs and flowers to freshen the room.

Baroque (1600 to 1750)

The Baroque period was a time for splendor and for splashing the cash. The interior of a baroque room was usually intricate, usually of a light palette, featuring a very high ceiling heavy with detail. Furniture would choke the room, ornately carved and stitched with very high quality fabrics. The rooms would be full of art not limited to just paintings but also sculptures of marble or bronze, large intricate mirrors, moldings along the walls which may be heavily gilded, chandeliers and detailed paneling.

Victorian (1837-1901)

We think of the interiors of Victorian homes as dowdy and dark but that isn't true. The Victorians favoured tapestries, intricate rugs, decorated wallpaper, exquisitely furniture, and surprisingly, bright colour. Dyes were more widely available to people of all stations and the Victorians did not want for colour. Patterns and details were usually nature inspired, usually floral or vines. Walls could also be painted to mimic a building material such as wood or marble and most likely painted in rich tones. The Victorians were suckers for furniture, preferring them grandly carved with fine fabric usually embroidered or buttoned. And they did not believe in minimalism. If you could fit another piece of furniture in a room, it was going in there. Floors were almost eclusively wood laid with the previously mentioned rugs. But the Victorians did enjoy tiled floors but restricted them to entrances. The Victorians were quite in touch with their green thumbs so expect a lot of flowers and greenery inside. with various elaborately decorated patterned rugs. And remember, the Victorians loved to display as much wealth as they could. Every shelf, cabinet, case and ledge would be chocked full of ornaments and antiques.

Edwardian/The Gilded Age/Belle Epoque (1880s-1914)

This period (I've lumped them together for simplicity) began to move away from the deep tones and ornate patterns of the Victorian period. Colour became more neutral. Nature still had a place in design. Stained glass began to become popular, especially on lampshades and light fixtures. Embossing started to gain popularity and tile work began to expand from the entrance halls to other parts of the house. Furniture began to move away from dark wood, some families favouring breathable woods like wicker. The rooms would be less cluttered.

Art Deco (1920s-1930s)

The 1920s was a time of buzz and change. Gone were the refined tastes of the pre-war era and now the wow factor was in. Walls were smoother, buildings were sharper and more jagged, doorways and windows were decorated with reeding and fluting. Pastels were in, as was the heavy use of black and white, along with gold. Mirrors and glass were in, injecting light into rooms. Gold, silver, steel and chrome were used in furnishings and decor. Geometric shapes were a favourite design choice. Again, high quality and bold fabrics were used such as animal skins or colourful velvet. It was all a rejection of the Art Noveau movement, away from nature focusing on the man made.

Modernism (1930 - 1965)

Modernism came after the Art Deco movement. Fuss and feathers were out the door and now, practicality was in. Materials used are shown as they are, wood is not painted, metal is not coated. Bright colours were acceptable but neutral palettes were favoured. Interiors were open and favoured large windows. Furniture was practical, for use rather than the ornamentation, featuring plain details of any and geometric shapes. Away from Art Deco, everything is straight, linear and streamlined.

[drifting-pieces-blog-blog]

Wanted to throw this question in your inbox as you always have rly thoughtful in depth analysis and things to draw from, but were comic MK sys to decide to for their own reconnection to Judaism, how do you think the logistics of hanging a mezuzah would work in a home like the House of Shadows?

Does it still function as a house or more of a creature, and with its ever changing internals, how would that interact with the more traditional route of hanging a mezuzah in every main doorway? (Obviously they don’t have to do that just… had a lot of questions come to mind)

Obviously I think there’s a lot of different perspectives to have on this so anyone in the community that sees this is welcome to chime in if they have thoughts, but yeah! Thought it was an interesting idea to break down

What a question that had me thinking all day! This is going to be a LONG one so strap in everyone! Let's first break this down into what each of these things are and then start the discussion.

Let's start with the obvious: What is a Mezuzah?

In Deuteronomy, G-d gives Moses some final instructions to give to the people. These are some pretty important instructions. So important that G-d instructs the people to write them down and put them where they will see them and keep them close daily.

“inscribe them on the doorposts (mezuzot) of your house and on your gates” (Deuteronomy 6:9, 11:20).

Contrary to popular belief, the Mezuzah is not what you see. it's actually the little scroll inside. Someone specially trained in kosher writing writes down selected verses from the Torah on this tiny little scroll. It's rolled up, protected, and placed inside a little box. The box has no standard appearance. It can be any size, shape, color, decoration. All it has to do is hold the scroll and keep it safe.

The rule is: You should affix it to every doorpost in any dwelling. Basically any door that contains two doorposts and an overhead lintel.

BUT, as with most Jewish law, there are some notable exceptions. You do NOT place a Mezuzah on doorways to bathrooms, closets, laundry rooms, boiler rooms, small storage rooms, or similar rooms.

Basically, don't put it on a doorway to a tiny place in which you do little more than reach in to place or remove things. Don't put it in a 'place of dishonor' (bathroom, shower room, wash room).

Places that you may or may not place it, depending on who you ask: Work office, a store, a car, or a temporary place of living in a very short term setting. (I'm going to come back to this one in a bit)*

Rules for putting it up: When you move into a new house, you have 30 days to put one up if you want to be timely. If you plan to live somewhere for an extended length of time and consider it a home, you should put one up (example: Dorm room).

If you move and you know the next family is also Jewish, you should leave the Mezuzah (the actual scroll. you can take the box if it is special to you, but you should leave a replacement box to hold the scroll). If the next family is not Jewish, you should take it with you so it does not get thrown in the trash or disrespected.

It should go to the right of the door when entering the room. (in matters where it is unclear on which side is the correct side, you use which direction the door opens into as the entrance. There are some serious discussions on this when it comes to uniquely designed houses).

What about that tilted Mezuzah? One culture said to make it horizontal. Another said to make it Vertical. there were some serious arguments. Finally a Rabbi threw up their hands and said "Make it slanted and appease them both!" Boom. Slanted. Though there are always those who still prefer straight up and down, or in some cases you don't have the room to slant it so you do your best.

Now! Back to the non-conventional places!*

Depending on who you ask, you should only have a Mezuzah in a place where someone is living or at least sleeping there overnight. (Which is why work or stores are not required. Even schools are up in the air on who you ask.) You also don't need to put one on a place that is not a permanent dwelling in one location, such as a car or RV. However, if you are part of a caravan, when you stop and unpack for an extended stay, you may treat it like a house and place a Mezuzah.

It's pretty common for a hospital to have Mezuzah as well.

Misconceptions: It is not there for luck. It can be seen as a sort of protection amulet, but that is not the true purpose of a Mezuzah. It is a reminder to the Jewish People about their obligation (covenant) with G-d.

NEXT! What is the Midnight Mission?

Or, more specifically, what is the entity that possesses the Midnight Mission? The House of Shadows first appeared in 1964 "Strange Tales #120" with Doctor Strange.

Apparently it was a cottage just outside of New York City that made people disappear. Strange investigated and found the house to be possessed by something from a 'shadow world' that lived near Limbo.

It got banished.

It came back later and vanished more people. Strange was contacted. the house was again sent back to Limbo.

Once more, the house made it back to earth and took up shape as 'the top floor of a condominium'. It once more ate up the residents and Strange was again contacted.

And you guessed it! Limbo.

Getting a little desperate, it came back and this time took up residence in an apartment building. This time, it was Moon Knight that was called in. Comic followers will know the story from here.

Hilariously it was Moon Knight that got vomited out like the house had just eaten a bad piece of meat. The entity lives off of strong emotions and psychic waves of a certain kind. And our little emotionally wrecked psychically ruined buddy? Yeah... Moon Knight is a hard meal to keep down. Strange being out of commission at the time (He was dead at the time. He got better and came back later), Wong was the one contacted. Wong really didn't want to go down to Moon Knight's side of town so he gave Moon Knight the gist of how to banish the pesky house. Moon Knight learned the history and thought "Oh man. Poor little house. No one wants him! Just like me :( All it wants to do is belong to a little community, torment some people, and have a nice meal every now and then."

Moon Knight's previous Midnight Mission had suffered the fate of being blown up so a deal was made. The Midnight Mission got a new place to stay, got to be spooky, and got to eat some bad guys every now and then.

I'm not going to spoil the most recent run, as even I'm a little behind on it. So I'll leave it there.

SO. Do you put a Mezuzah on that?

Assuming SOMEONE in the Moon Knight system decides to put a little Ritual and Ruach back into his everyday life….

You could 100% slap a Mezuzah up on that. You got doors. You got people living there and sleeping there. It's a home. And the Entity is not the WHOLE house. It's a 'spirit' that has sort of…soaked into the walls. It doesn't actually make up the structure of the building.

Being that the entity is NOT a demon/ghost/possessed spirit or even from our dimension, I don't see it being offended by the word of G-d the way you might think of in things like The Exorcist. It might just see it as no more than just hanging up another piece of art like a picture or something. And Marc does love his art. There's friggen Egyptian things all over the place like he's slowly trying to empty out the British Museum and just waiting to see how long it takes them to notice half their Egyptian wing is slowly going missing.

Now, Someone in the system MIGHT worry about asking the entity their opinion. Just in case our Buddy Hashem has been through their dimension and maybe they don't get along?

I can see Jake doing that. Jake might toss a little Yiddish around, hold up a scroll and read it out loud then ask if it's okay if he puts them up. He's not about to force his religious rituals on anyone, let alone his own house.

If the Mission didn't react poorly or object in any ways, he'd set out putting them up. No one wants someone else's religion nailed to their forehead, after all.

Next step is: Would they take the law to heart and do it as commanded on all eligible doors? Or just the front door? Not everyone who lives there is Jewish. Most of the neighborhood people that go to him for help are also not Jewish.

Talmud has absolutely asked this question before! Consensus was that you should still place one on all doors, even if the occupant of that room is not Jewish, since the house is still considered owned by someone who is Jewish. (Under the same roof. If you have a mother-in-law unit and the occupant is not Jewish, you do not need to put a Mezuzah up there. Just on your own house).

I think the real question is how comfortable the system is with all this. Marc has some COMPLICATED feelings about anything in relation to his life. He might not appreciate it on his own room. Not to mention he might consider it overkill to go around on all the doors. I mean… The place is pretty big. It has a LOT of rooms… AND:

The place changes.

The entity that is the current Midnight Mission acts as a sort of Pocket Dimension. It can grow or shrink as it likes.

As funny as it is to think of Jake hanging up a few Mezuzah only to turn around and find 100 more doors out of nowhere…. I think it would be a Sisyphean task to get ALL the doors… (Not to mention EXPENSIVE. That scroll is hundreds of dollars depending on what sort of quality you aim for. And Steven is not going to roll over on that one easily. That's a LOT of scrolls).

Front door would be good enough. A very visual sign that this is a safe place for ALL refugees and not a tolerant place of ANY sort of bigotry. And despite Marc's stance on his past, I can see him appreciating that above all else.

If you want to have fun with it, the Creature might attempt to replicate and after trying to understand what it was, it might just MAKE doors already with a Mezuzah copy on them. It wouldn't be kosher, because the scroll was not written by that special scribe I mentioned earlier, but the thought might warm a few hearts. (though that might cause trouble with accidentally paying respect to a fake Mezuzah. I'm not sure if this discussion is in the Talmud, but if you know there is no Kosher Scroll in that box and you pass through and kiss it out of automatic muscle memory, how bad is that on a scale of whoopse to idol-worship? Is it just the thought that counts? Hmmmmm)

So.... Did I get it all? What do you think? I'm by no means an authority on Mezuzah law.

Also, what a time to ask because I'm moving in a few months and the Mezuzah has 100% been on my mind.

Hope I made you think!

[world-of-wales]

BREAKING NEWS -

THE PRINCE OF WALES'S SOCIAL HOUSING PROJECT!

The Prince of Wales will build a £3m social housing development on his own land to tackle homelessness, delivering on his pledge in my interview with him last year that he would "absolutely" put social housing on the Duchy of Cornwall estate.

The development in Nansledan, a suburb of Newquay, the Cornish seaside town famous for its surfing, will include a mix of four-bedroom houses and one-bedroom flats.

The duchy, will supply the land for the project free of charge and cover all construction costs. It will also invest in local infrastructure, including a bus link and connections to electricity, water and superfast broadband.

The new low-carbon homes will feature slate roofs, granite lintels, solar panels, heat pumps and colourful timber windows. It will be built in a “traditional Cornish seaside” style, designed by Adam Architecture and local firm ALA Architects.

Prince William, who launched Homewards UK last year, is looking at more projects on his land. He wants other landowners to follow suit and build more social housing. William is also working with St Petrocs to offer residents “wraparound” support services in addition to housing.

Kensington Palace said: “The prince is delighted that the duchy is using the Homewards approach as inspiration for building this innovative housing project, partnering with St Petrocs to find ways of ultimately getting people into permanent housing.

“It is exactly what he wants to do and for him it’s another example that if we can show people here and in other countries what is possible, maybe others will follow our lead. The prince hopes that every town and city in the country will take inspiration from this project.”

https://archive.ph/2024.02.17-182818/https://www.thetimes.co.uk/article/prince-william-land-social-homes-project-royal-family-vtv7x6vjc

[operafantomet]

How many different variations were there of the side sculptures on the replica proscenium? Because it's so intricate and detailed I can barely make out differences in pictures between different productions, but I know some have the statues 'draped', some seem to be double the size of others etc etc? (Some have wreaths , some have nothing but stil), thank you!

Well, good question. There are many variation of the same theme. Sometimes the differences are subtle, sometimes more noticeable.

Basically all versions, old and new, original and revamped, feature the upper side sculptures. The original combo was a winged woman behind a satyr, and one or two women wriggling away from the satyr at each side: One stretching in over the proscenium, the other either stretching out of the proscenium, or looking into the audience. They're standing on a lintel / architrave / horizontal decorativ frieze, just where the proscenium meets the auditorium.

Here's one from the original West End production c. 2014:

And here from the Hamburg revival in 2013:

Some of the upper side sculptures are sometimes cut. It can be due to weight, or them blocking the view of too many seats in the auditorium. That also goes for the lower side sculptures. Some prosceniums has featured none at all, others has featured smaller or bigger combos of them. The three most used ones are:

Full with drape underneath (left, Las Vegas, World Tour, US Tour etc), "regular" full (middle, West End, Broadway etc), half sculpture group focusing on the lower part (right, Japan, World Tour). The World Tour has also done the half-version with the drape under, which makes it look bigger. This is not depicted here.

And with this in mind... if ignoring the more subtle differences I'd say these are some main set-ups of the proscenium:

The main look has been like what was seen in West End and Broadway and many international productions to follow: The Golden Angel, lyres and garlands, plus sculpture groups at the upper corners and lower proscenium. Depicted under here is West End, Broadway and Basel.

A thing frequently seen in Japan is the same basic set-up, but lower and sometimes wider stage. Lower stage means fewer side sculptures. The upper side sculptures feature one less female figure, removing the one stretching into the auditorium. But more visible is the much smaller group underneath, in the lower side sculptures. They usually only do half the sculpture group. This is Tokyo 2005:

Then the World Tour in Guangzhou 2015. The set-up was very similar to that of Japan, with one less female sculpture at the upper sides, and with half a sculpture group in the lower half. But they did the drape construction under the sculptures, making them almost twice the size as what was seen in Tokyo.

And now for something completely different... The original Stockholm prododuction and later the Copenhagen production cut the side sculptures entirely due to the side-view seats. Instead this area featured a wreath. Note too the shorter distace between the Golden Angel and the side sculptures. This made for a beautiful, albeit top-heavy proscenium.

The Stockholm revival production was staged in a circular theatre, which meant there were not too many bearing constructions to attach the proscenium to, and the layout of the theatre meant a lot of seats would get the side-view blocked by eventual sculptures. So they kept the main proscenium, which was from the World Tour, but didn't do the lower side sculptures. Unlike the original Sctokholm production they didn't add an additional ornament either:

Then the rare case of the "double proscenium" in the original Viennese production. Due to the layout of the auditorium the top sculptures were placed in the outer area, while the lower side sculptures was moved in on stage.

Note that both the Stockholm/Copenhagen version, The Japanese version and the Viennese version was designed by Maria Bjørnson herself. It was her way of taking the original set-up and adapt it to the specific theatres. Ideally the proscenium should look like a part of the auditorium, blurring the lines between stage and audience, and for this elements has to be switched around. She was however very thorough with the placement of the Golden Angel and the surrouding garlands and lyres, making this a continuous curving line.

I think my all-time favourite of prosceniums matching the auditorium is the Paris set-up. It just... melts into the auditorium! They also did the whole shebang, all sculptures, all details. Aaaah!

My love for the World Tour is endless, but I really wish they would beef up that proscenium. The lack of the Golden Angel and the lack of the lower side sculptures makes it look a bit... boxy. A middle ornament of some sort and a wreath like Stockholm / Copenhagen would have softened the look considerably.

I could go on about the changes in the new prosceniums, the lack of side sculptures, lack of the Golden Angel, or the extended Las Vegas set, whatnot. But that's for another photoset. This one is rather a homage to the original design and various adaptions of it.

[samson-the-whale]

So part 2 lol so you seen scamson wøndergotten design but now it's scrappers turn. So here's scrappers wøndergotten ref.

Abit more info:

-the flames across his chest is a tattoo

-the flames in his hair is just hair die

-his fier charges are damedged*

-he is completely fireproof

-his got anger issues

-him and scamson hav history

-he is a sad lintel angry mam

*instead of his normal fier punch do to the damage he can axsadenntly set himself on fire help still do a fier punch just he might be on fier at that point as well

(wøndergotten belongs to @danisha-tdh fools escape belongs to @lazymonth)

Aaaaand og ref and idea ref

[thepastisalreadywritten]

Oldest Bronze Doors (115 AD) still in use in Pantheon, Rome, Italy.

These doors cast in bronze for Emperor Hadrian (76-138 AD) rebuilding, dated about 115 AD.

These large bronze doors serve as an entrance to the cella, measuring 4.45m wide by 7.53m high, yet so well balanced they can be pushed or pulled open easily by one person.

Each half of the double door weighs 8.5 tonnes. It rotates on pins set into floor and architrave above.

—

The bronze doors in the Pantheon of Rome are indeed a remarkable testament to the engineering and craftsmanship of the Roman Empire during the reign of Emperor Hadrian.

Here are some fascinating details about these historic doors:

1. Age and Origin:

The bronze doors in the Pantheon are estimated to date back to around 115 AD, making them over 1,900 years old.

They were commissioned and cast during the reign of Emperor Hadrian, who is renowned for his architectural contributions to Rome.

2. Purpose:

These doors serve as the entrance to the cella, the inner sanctuary or main chamber of the Pantheon.

The Pantheon itself is a well-preserved ancient Roman temple dedicated to all the gods (hence the name "Pantheon").

3. Size and Dimensions:

The bronze doors are sizable, measuring approximately 4.45 meters (14.6 feet) in width and 7.53 meters (24.7 feet) in height.

What is particularly impressive is that despite their substantial size, they are perfectly balanced and can be effortlessly opened or closed by a single person.

4. Weight:

Each half of the double door weighs a staggering 8.5 tonnes, adding up to a total weight of 17 tonnes for the entire set.

This speaks to the advanced metallurgy and engineering skills of the Romans in handling and crafting large bronze structures.

5. Rotating Mechanism:

The doors are mounted on pins that are set into the floor and the architrave (the lintel or horizontal beam) above the entrance.

This ingenious design allows for the doors to pivot smoothly, enabling them to be moved with relative ease despite their immense weight.

6. Historical Significance:

The Pantheon, with its iconic dome and these bronze doors, is an enduring symbol of Roman architectural innovation and grandeur.

The fact that these doors are still in use after nearly two millennia is a testament to the durability and quality of their construction.

The Pantheon's bronze doors are not only a functional part of this historic structure but also a tangible link to the past, offering a glimpse into the architectural and engineering achievements of ancient Rome.

They continue to awe and inspire visitors from around the world with their sheer size and remarkable craftsmanship.

Credit: Statistics (X)

[five-rivers]

Doorways Chapter 9

Written for Ectoberhaunt 2023's isekai weekend!

Part of this series.

“Sometimes,” said the woman-who-was-a-woman-but-also-something-more.  She turned her head to look down at Danny, and the mirror behind her reflected a small amount of the glory that her body naturally hid.  

Danny shivered sideways at her regard, sidestepping mirrors that had always and had never been there.  If the other doors could be called demons, then this one could be called angelic.  That didn’t mean they’d be friendly to Danny or his family.  

“Who are you?” she asked.  

“Danny,” he said, unpleasantly reminded of Gula’s attempt to eat him, to draw him out through his name.  It wasn’t the same, and yet…

“Not that,” said Industria.  Lights shone in her eyes.  Her reflections turned to examine Danny directly, looking out through the glass.  Danny’s reflections seemed to fade, becoming less real.  “Who are you?”

“I go by Phantom, too,” said Danny.  

She shook her head.  “You’re a doorway, but you don’t go to the same place I do.”

“No,” said Danny.  “I go to the Ghost Zone.  You go… elsewhere.”

“The Green Country, not the Red.  Infinite Realms, not the Unmade World.  I know.  You carry the traces of Dreams.”

“Nocturne,” said Danny.  “His name is Nocturne.”

“That was never his true name.  Just as yours was never Danny, never Phantom.”

“Just like yours isn’t really Industria,” said Danny, peeved.  “It isn’t as if we have anything written on our lintels.”

“Don’t we?”  

“Maybe you do.  I don’t.”

She stepped sideways and was replaced by her reflection.  “I’ve done my research.  I always do my research.  The Door of Dreams is not the only one that leads to the World Imagined.  Time.  Storms.  Growth.  These have names.  You have arrived on my threshold, from which I hold back Acedia.  You come bearing the echoes of Gula, of Superbia.  I ask again, who are you?”

Three times, and Danny didn’t have the benefit of being at home, on his own threshold.  He also, thankfully, wasn’t trapped in a circle of blood blossoms.  Not that it would have mattered if he was.  The entity in front of him operated on a different set of rules than the thing that had worn Serena Goodritch and eaten Vlad.  The mirrors were enough for her purposes.  

What was ripped from his mouth, his core, wasn’t human.  He couldn’t even begin to guess at a way to translate it into something human.  It was the purest, most direct, most complete description of what he had, obliquely, termed his Obsession when negotiating with Nocturne.  

“Oh,” said Industria.  

A hand entered Danny’s field of view.  He had, at some point, fallen to his knees.  He took the hand, and Industria pulled him up.  Some of the mirrors had gone back to normal reflections.  Others had faded further.  A few seemed too real, too deep.  One reflected not the hall of mirrors, but the Fentonworks’ lab.  

“Sorry,” she said.  “I had to know.”

“No,” said Danny, hoarsely.  The human throat wasn’t designed for that kind of utterance.  “I understand.  Well.  I mean.  I understand why you did it.  Not, ah.”  He gestured at his mouth.  

“You didn’t understand what you said?” she asked.  

Danny didn’t really know how to explain it, but one of his reflections spoke for him, the words transmitted through the glass.  “Not… Not really.  It’s like when you’re standing in front of yourself.  You can think of different things, then.”

“Maybe,” she said.  “But you really need to figure that out, and sooner rather than later.  Before someone takes advantage.  My name is Millie.”

“Like your name tag?” 

“Yeah.  That is what a name tag is for.”  She sighed.  “Why are you here?”

“After Gula showed up on my doorstep and tried to eat me, me and my parents thought it’d be good to check in on everyone who used to be part of their club.  Your dad’s George Amal?”

"Also," chimed in a reflection, "we ran into some 'Acolytes of Acedia' the other day.  Know anything about that?"

"Crap, I thought I'd fixed that."  Millie looked him over. “Your last name is Fenton?”

“Yeah.”

“I heard about you on the news.  There’s a lot of speculation that your family killed Vlad Masters.”

“We didn’t,” said Danny.  He was echoed by his reflections. 

(He didn’t like that.  It felt like pieces of himself were being pinched and siphoned away.)

“That’s what people are saying,” said Millie.  She shook her head.  “You shouldn’t have to worry about Acedia leaking past me again.  I work hard.  I’ll have to make some adjustments, but this park will contain it.”

“Why?”

“Parks like this look like they’re just here for people to relax, but they take a lot of work, and people here are doing things, not just sitting around lazily.  It’s an interface Acedia tries to latch onto, but can’t.  Not easily.  And what it does do, I can counter and disperse.  It makes reality a little weird, but it’s better than the alternative.”

“Why haven’t you closed it?” clarified Danny.  

“Sealed it?” asked a reflection.

“Destroyed it?” asked another.  

“Because I cant,” said Millie.  “I’m sure you’ve realized it isn’t that easy to get rid of these things.  I’d love to know what you did to banish Gula and how you got away from Superbia."

“I… didn’t.”

“What do you mean, you didn’t?  You’re here, and there’s nothing inside Serena Goodritch’s body anymore.  You must have.  No doubt you’ll have to find a way to bind Gula, soon enough.  No manifestation of that thing lets a meal escape easily.”  

“No,” said Danny.  “The - Gula, wasn’t stable, and it was in my home.  What it tried to do to me, I turned back on it.  Gula, that version of Gula, is gone.”

“And Superbia?  You carry its…”  Millie-Industria waved her hand, as if to indicate Danny’s whole body.  “I can sense it on you.  Its traces.  Its taint.  It’s like a smell, almost.”

“Gone.  It wasn’t fully open to begin with, but it was drawing against death, and it was death that…”  He trailed off.  

“Death opened me,” said a reflection, quietly.

Millie hissed through her teeth.  “The pride that challenges death.  Where was it?”

“Golding City.  The university.”

“Of course it was the university,” said Millie.  She glared at the ground for a minute, then shook her head.  “No, those things won’t work here.  The circumstances are too different.”

“Isn’t this your home?” asked Danny.

A reflection shifted.  “Where you were made?”

“Yes,” said Millie, “but Acedia is anchored here as well.  And I’ve never heard of doors to that other place being closed like that before, to begin with.  Are you sure they were closed?  Destroyed?”

“Positive,” said Danny and all his reflections.

“Maybe it’s because he’s a door to the infinite, rather than the supernal,” said one of Millie’s reflections.  

“Maybe,” agreed Millie.  She looked up, back at Danny.  “You… Aren’t exactly diligent or industrious but you do work hard.”

“Uh, thanks?”

She seemed to decide something, then.  The mirrors shifted, and the reflection behind her stepped aside.  

“Follow me,” she said.  She turned, and walked through the mirror.  Danny hesitated.  But he didn’t really have a choice.  “What were these acolytes you encountered like?”

“They were enslaving ghosts,” said Danny.  “To do stupid things.  Do their chores.  Run their business.  You know, so they didn’t have to.  They ran a bed and breakfast.  Sort of.  I think it was mostly the ghosts, now.”

“Typical,” said Millie, sourly.  “Somehow, with these things, the worst of it comes to slavery, always.”

“Have you run into a lot of doors?” asked Danny.  

“Not ones going that way,” said Millie.  “But I’ve met Dream, and I’ve met a few like me.  I think Caritas would like you.”

“There are others?” asked Danny, his heart aching with thought of more like him, others that could understand, even if they weren’t quite the same. 

“Mhm,” said Millie.  “Not that I can tell you where.  We have an agreement.  Privacy, you know.”

“Oh.  Of course.”

Walking through a mirror was already several steps off of normal reality, but the deeper they went, the more things shifted.  That tension that he could sense even walking on the surface, on the skin of what he now sensed to be a huge, many-layered mechanism, an almost-living thing of mirrors and difficulties.  Something not easily bypassed by something that existed in inaction.  It was difficult to move.  It was difficult to breathe.  It was difficult to think.  

Danny knew that if he did not do those things, he would be trapped here.  

“How long?”

“What?”

“How long have you been a door?” asked Danny.  “I mean– How long has it been since you were first opened?”

“It was after Dad was in that accident.  I went looking for something, anything that could help.  I found Acedia.  And rejected it.  Acedia doesn’t have a host.  Too much work, I suppose, except when someone walks right into it.  That was… Industria, then…  My door…  I rejected Acedia.  It… overlapped,” she said, struggling to put what it was like to become into words, as Danny often did.  Even things like ‘opening’ and ‘closing’ and all these analogies weren’t good enough.  “It was a confirmation.  You?”

“I was trying to fix something,” said Danny, shrugging.  “That something wound up being me.  Only I wasn’t broken.”

Millie stopped.  Industria stopped.  “This is as far as you should go, I think.  Do you feel it?”

Yes, Danny could feel it.  That lazy, too-hot summer afternoon.  Night, so late, too tired to get up to go to bed.  Dishes in the sink, piling up.  Remote control just a little further.  Homework left unfinished.  The itching under the skin to do something, but nothing being done.  The consumption of hours.  Their waste.  Their despair.  

“Do you understand why it’s different?  Whatever you faced before, it’s different.”

“It isn’t that different,” said Danny, thinking of Superbia, and the false confidence that swirled under his skin, daring him to try, telling him he could win by his strength and cleverness alone.  But this… He didn’t know if this wasn’t a good fit for him, or if it was Acedia, whispering in his ear, turning him away from something he could and should do.  

“You’ve defeated two holes in reality,” said Indistria, leaning down so she could speak directly into Danny’s ear.  “By many measures, what you are is what you can do.  Can what you did be repeated?”  Her eyes gleamed from a dozen reflective surfaces.

He could not forget.  Industria, too, was a doorway, a hole in reality.  One that had more in common with Danny than the likes of Gula, but one nonetheless.  

What if he only wanted to do something because of her?

Industria sighed, her breath hot on Danny’s ear.  “Can you strengthen the boundary?  Can you expand the maze?”

“Ice,” said Danny, breathlessly.  “You use mirrors.”

“It was what was available at the time.”

“They used mirrors, too.  The acolytes.”

“Acedia could be traveling.  But ice?”

“Ghost ice.  Mirrors and mirror-coatings.  Barriers.”

“Do it.”

Danny laid his hand flat against one of the mirror walls, and called on his ice.  It crept out, over the glassy surface, then sunk deeper, the white cold mixing with the brilliant silver illumination that was Industria’s power.  He poured into it.  Power.  Energy.  Thought.  Hexagonal fractals spiraled outward, creating mazes within mazes, adding to the binding that kept Acedia from leaking into the world.  His reflections did the same, all through the maze, shallower and deeper, scattered everywhere, a thousand parts of him.  It was difficult.  It was impossible.  

He saw, now, why Industria could not destroy Acedia.  He saw why she had only brought him partway.  They were too different.  They could not reach one another.  The space between their thresholds was an infinite series of steps, and nothing could take such a journey.  Forever, they could approach their borders and never find them, and Acedia… Acedia would not do that, or it would not be Acedia, and Industria could do nothing but, or she could not be Industria.  

Danny was neither of those things, and his door stood on a sharper divide.  Though he could not go to Acedia, and fight it in its own place of power, he could do things Industria could not.  

But could he fill all this infinite space all by himself?

“You can do it,” said Millie.  And with Industria’s hand on his shoulder, he could at least try.

.

Danny stumbled out of the house of mirrors and caught himself on a nearby piece of railing.  Millie stood behind him on the steps.  

“I’ll tell the others about you,” she said.  “I need to get back to work.  Will you be alright?”

“I’m fine,” said Danny.  “I just need to– I just need to–”  Rest?  Catch his breath?  Was that safe?

“You should be fine,” said Millie.  She looked back, over her shoulder.  “Plenty of people rest here.  Resting isn’t the problem.  The problem is not getting back up.” 

The high-pitched tweedle of a phone ringtone interrupted any thoughts Danny might have had on the matter.  Millie rolled her eyes and answered the phone.  “Yes?” she said.  She was quiet for a few minutes.  “Yes, I’ll tell him.  Bye.”  She closed the phone.  “My dad saw your parents.  You’re invited to dinner.”

[pix4japan]

Vermilion Torii of Shirahama Shrine: Gateway to the Sacred

Location: Shirahama, Shimoda, Shizuoka, Japan Timestamp: 07:43 on January 3, 2024

Fujifilm X100V with 5% diffusion filter ISO 3200 for 1/140 sec. at ƒ/8.0 Film simulation: Velvia/Vivid

A torii gate is a formalized gateway arch signifying entrance to a sacred area. Shrines may have one or more torii, such as here at Shirahama Shrine, where there are at least three. When multiple torii are present, the largest one is normally called the “Ichi-no-Torii” (first torii gate) and stands at the sando or approachway to the shrine grounds and courtyard.

Torii may also be found at various points within the precincts of the shrine to indicate increasing levels of sanctitude as one approaches the (本殿・honden), which is often located farthest from the entrance of the shrine grounds and behind the worship hall (拝殿・haiden).

Based on their present-day function, torii express the division between the profane and sacred realms. They are found not only at shrines but also at Buddhist temples, as seen in the famous stone torii of the temple Shitenno-ji in Osaka. However, when used as a map symbol, they generally signify the presence of a Shinto shrine as opposed to a Buddhist temple.

With the rise of Buddhist-Shinto syncretism in the 12th century, Shinto shrines began to appear within the grounds of Buddhist temples. Even then, torii were used to mark the entrances to such shrines. The origin of torii is unclear. In the writings of “The Inventory of the Properties of Otori Jinja in Izumi,” dated 922, there are references to torii that lead some scholars to propose that torii originated in Japan.

Regardless of the origin, torii in Japan share mostly similar basic designs with two upright posts topped by a horizontal cap beam (笠木・kasagi) that extends beyond the posts on either side. Beneath the kasagi, a horizontal tie beam (貫・nuki) is laced around the uprights and links them together.

Among the infinite variety of torii named for unique characteristics or the name of a specific shrine itself, basically all torii can be classified under two major categories: those with straight members, shinmei torii (神明鳥居), and those with curved members, myojin torii (明神鳥居).

The main torii of Shirahama Shrine, as seen in my photo, most closely resembles a myojin classification based on the following observations. See if you can identify these same specifications in the photo!

The top lintel (笠木・kasagi) has a strong upward curve.

The ends of both the top and secondary lintel (島木・shimaki) are cut with a downward slant.

The tie beam (貫・nuki) is straight, rectangular in section, and secured by wedges (楔・kusabi) inserted into each side of the pillars.

A strut covered with a framed inscribed panel (額束・gakuzuka) is attached at the center between the secondary lintel and the tie beam. (The inscription panel in my photo reads “白濱神社・Shirahama-Jinja or Shirahama Shrine in English.)

Finally, myojin torii can be made of stone, wood, or concrete or PVC (in the modern period) and are painted vermilion, although I have seen a few painted black.

For anyone interested in reading more about the different types of torii gates, I have provided links to reliable sources in my latest pix4japan blog post: https://www.pix4japan.com/blog/20240103-shirahama

[inspiredlivingspaces]

IG elledecor - Massachusetts

[warrioreowynofrohan]

For the Choose Violence ask game: 22 for any of Tolkien's Middle Earth works? (Histories of Middle Earth included.)

Two asks for this one!

@nopewood: 22 for the ask game pleaseee ^^

22. your favorite part of canon that everyone else ignores

It's not entirely ignored, but the poetic Leithian deserves way higher profile than it has! It's absolutely magnificent as poetry and also elaborates a lot more of the events of Beren and Lúthien's Quest than the text of the Silmarillion does (for example: the spell Lúthien uses to grow her hair is incredibly complex, cool, and rather spooky).

Another part that I really like that almost everyone ignores is "The Coming of Tuor to Gondolin" in Unfinished Tales. I love the characterization that we get of Tuor during his time as a outlaw and his journey to Nevrast and thence to Gondolin - he, well 'chill' compared to the other Edain we get, but he's not entirely chill and it's really not sufficiently recognized that he waged a single-handed guerilla war in Hithlum for about three years when he was little more than a teenager.

A specific bit of that that I like and that no one else seems (understandably!) to care about is the description of the gates of Gondolin. I love it. The imagery of the different materials, colours, the structure, the designs and what they symbolize/convey. And we're also told that the Elves created a lot of magnificent things, but they're rarely described in detail, and we get such great descriptions here.

Gates!

Thus they came at length to a wide art with tall pillars upon either hand, hewn in the rock, and between hung a great portcullis of crossed wooden bars, marvellously carved and studded with nails of iron. Elemmakil touched it, and it rose silently, and they passed through. "You have passed the First Gate, the Gate of Wood," said Elemmakil. ...Some half-league from the Wooden Gate Tuor saw that the way was barred by a great wall built across the ravine form side to side, with stout towers of stone at either hand. In the wall was a great archway above the road, but it seemed that masons has blocked it with a single mighty stone. As they drew near its dark and polished face gleamed in the light of a white lamp that hung above the midst of the arch. "Here stands the Second Gate, the Gate of Stone," said Elemmakil; and going up to it he thrust lightly upon it. It turned upon an unseen pivot, until its edge was towards them, and the way was open upon either side; and they passed through, into a court where stood many armed guards clad in grey. ...After a little space they came to a wall yet higher and stronger than before, and in it was set the Third Gate, the Gate of Bronze: a great twofold door hung with shields and plates of bronze, wherein were wrought many figures and strange signs. Upon the wall above its lintel were three square towers, roofed and clad with copper that by some device of smith-craft were ever bright and gleamed as fire in the rays of the red lamps ranged like torches against the wall. Again silently they passed the gate, and saw in the court beyond a yet greater company of guards in mail that glowed like dull fire; and the blades of their axes were red. Of the kindred of the Sindar of Nevrast for the most part were those that held this gate. [NOTE: Another reference to the Sindar using axes as their main weapon, something that I almost never see in fic.] ....Thus at last they drew near the Fourth Gate, the Gate of Writhen Iron. High and black was the wall, and lit with no lamps. Four towers of iron stood upon it, and between the two inner towers was set an image of a great eagle wrought in iron, even the likeness of King Thorondor himself, as he would alight upon a mountain from the high airs. But as Tuor stood before the gate it seemed to his wonder that he was looking through boughs and stems of imperishable trees into a pale glade of the Moon. For a light came through the traceries of the gate, which were wrought and hammered into the shapes of trees with writhing roots and woven branches laden with leaves and flowers and as he passed through he saw how this could be; for the wall was of great thickness, and there was not one grill but three in line, so that to one who approached in the middle of the way each formed part of the device; but the light beyond was the light of day...Now they passed through the lines of the Iron Guards that stood behind the Gate; black were their mantles and their mail and long shields, and their faces were masked with vizors each bearing an eagle's beak.

What the Fourth Gate reminds me of at the moment is Menegroth - trees carved in iron, as Menegroth is trees and birds and other animals wrought in stone, the combination of the love of nature with the love of craft through the work of two different peoples. And the sequence - the different materials (wood, stone, bronze, iron), the number of towers matching the number of the gates, the guards outfitted in a way that matches the gates - really appeals to me. The connection of Gondolin both with Ulmo, who showed Turgon the location and concealed his people so they could get here, and with Manwë via Thorondor (who is really Turgon's link to the outside world, and brings him news on more than one occasion) is just fantastic.

Then we have the gates of Silver and Gold:

Tuor saw beside the way a sward of grass, where like stars bloomed the white flowers of uilos, the Evermind that knows no season and withers not; and thus in wonder and lightening of heart he was brought to the Gate of Silver. The wall of the Fifth Gate was built of white marble, and was low and broad, and its parapet was a trellis of silver between five great globes of marble; and there stood many archers robed in white. The gate was in shape as three parts of a circle, and wrought of silver and pearl of Nevrast in likenesses of the Moon; but above the Gate upon the midmost globe stood an image of the White Tree Telperion, wrought of silver and malachite, with flowers made of great pearls of Balar. And beyond the Gate in a wide court paved with marble, green and white, stood archers in silver mail and white-crested helms, a hundred upon either hand. Then Elemmakil led Tuor and Voronwë through their silent ranks, and they entered upon a long white road, that ran straight towards the Sixth Gate; and as they went the grass-sward became wider, and among the white stars of uilos there opened many small flowers like eyes of gold. So they came to the Golden Gate, the last of the ancient gates of Turgon that were wrought before the Nirnaeth; and it was much like the Gate of Silver, save that the wall was built of yellow marble, and the globes and parapets were of red gold; and there were six globes, and in the midst upon a golden pyramid was set an image of Laurelin, the Tree of the Sun, with flowers wrought of topaz in long clusters upon chains of gold. And the Gate itself was adorned with discs of gold, many-rayed, in likenesses of the Sun, set amid devices of garnet and topaz and yellow diamonds. In the court beyond were arrayed three hundred archers with long bows, and their mail was gilded, and tall golden plumes rose from their helmets; and their great round shields were red as flame.

As I reread this...I had thought before of Gondolin, the image of Tirion in Valinor, being a symbol/indication of Turgon's inability to let go of his homesickness, and the images of the Trees being connected to that. But it doesn't feel like that now - it feels like a fusion, of the past in Valinor (the two Trees) and present in Beleriand (the Moon and Sun, and also the pearls of Nevrast and Balar; the latter indicate that Turgon must also have had a close relationship with Cirdan and the Falathrim) - and by the way, how did Turgon realize the connection between the Trees and the moon and sun, when as far as the Noldor know the Trees were entirely dead? It's an impressive connection to work out by himself.

These gates - and their matching flowers, which is an amazing touch - are more decorative and less military than the others, as though, having passed the gate of iron, the focus is now more on beauty rather than defence. And then we're slapped in the face with this:

The way was short to the Seven Gate, named the Great, the Gate of Steel that Maeglin wrought after the return from the Nirnaeth, across the wide entrance to the Orfalch Echor. No wall stood there, but on either hand were two round towers of great height, many-windowed, tapering in seven storeys to a turret of bright steel, and between the towers there stood a mighty fence of steel that rusted not, but glittered cold and white. Seven great pillars of steel there were, tall with the height and girth of strong young trees, but ending in a bitter spike that rose to the sharpness of a needle; and between the pillars were seven cross-bars of steel, and in each space seven times seven rods of steel upright, with heads like the broad blades of spears. But in the centre, upon the midmost pillar and the greatest, was raised a mighty image of the king-helm of Turgon, the Crown of the Hidden Kingdom, set about with diamonds.

This is grim and forbidding and hostile after the Gates of Silver and Gold - like passing from an intricately carved gate of a garden to a fence of razor wire. It's the only gate that Elemmakil can't open for them, and there's no elegant way to knock - you just have to bang on the bars. The pillars of steel might be the size of young trees, but they aren't carved to look like trees or anything else - they're just spikes. The other gates had images of nature, and sometimes of the world outside; this gate is hostile to the world outside.

And, after the three previous gates with Thorondor followed by the images of the creations of Valar - the Trees and the Moon and Sun - we have an image of Turgon's crown on this one.

This is a very clear warning to the reader - something is wrong in Gondolin. Turgon has grown proud and shut out the outside world, and is putting himself and his desires as of the foremost importance. This Gate tells us what Turgon's answer to Tuor's message from Ulmo will be even before Tuor delivers us. And the statement that Maeglin made this gate shows him symbolically as an influence upon this change of attitude in Turgon. Everything about this gate foreshadows the fall of Gondolin.

Thank you for indulging me on this super long post! Look, I just really enjoy imagery and patterns!

[dreaminginthedeepsouth]

Peter Paul Rubens, Dance of Mythological Figures and Villagers (Antwerp, 1630–35.)

A group of figures dance to the tune of a flute played by a man perched on an oak tree, and to the bells that some dancers have attached to their lower legs. The scene evokes the dances that are part of Ancient Greek history and myths and the tradition that followed—the book Hypnerotomachia Poliphili includes a description and a woodcut of a similar dance. The painting also evokes the arcadian settings of pastoral lyric and drama inspired by Theocritus’s Idylls. In that tradition, and in Rubens’s interpretation of it in numerous paintings, the countryside is considered as an ideal place of plenitude, romance, and sexual fantasy for men. The setting is enlivened by the handling of brown, green, and blue paint. The texture builds on the panel support defining the folds of draperies, head buns and ornaments, and the areas where the light hits the trees. In the middle distance is a farm building with a Palladian motif of arch and lintel—if we were to take this literally, we would place the scene in the Veneto. Rubens favoured this style of sixteenth-century Italian architecture, as witnessed by his designs for his own palatial house and garden in Antwerp.

The dancing figures move their limbs and contort their bodies, an expression of the passionate feelings involved in dancing as it is described in Greek literature. Two dogs positioned as mirror images of each other emphasise the circular movement, and the flowing draperies also contribute to the sense of motion. Many of the figures seem concentrated on the mechanics of the complicated dance, as they try not to lose the hands of the others. In the centre foreground, one of the women appears to be upset by the proximity between a woman with a bare breast and a large bearded man with an ivy wreath; his lascivious attitude is intimidating. To the right another couple come close to kissing. Dionysius, ressed in his tiger skin and crowned with a wreath of leaves, looks back apparently pleased by what he sees.

Only the young Dionysius is clad in attributes that allow us to identify him; the exotic tiger skin alludes to his exploits in the Orient. The epic poem Dionysiaca by Nonnos is full of references to such animals. It also mentions a dance that was part of a celebration of Dionysius’s conquest of India: "The foot-soldiers of Bromios danced round with their oxhides and mimicked the pattern of the shieldbearing Corybants, wildly circling in the quick dance under arms". This is not to imply that Rubens is depicting that specific dance, but a reminder of the very frequent descriptions of such activity in Ancient Greek texts, including whirlwind-like ones similar to the one Rubens painted. The most famous is perhaps one of the scenes that Hephaestus designed on the shield he made for Achilles, as described by Homer in the Iliad: "And young men were whirling in the dance, and with them flutes and lyres sounded continually". Other than Dionysius, the identity of the figures in this painting is ambiguous. I see them as timeless, generic characters inspired by ancient texts.

The flute player takes on the role of Pan, the sex driven, pipe playing shepherd god, but he has no animal features. The other dancers bring to my mind the satyrs, frequent companions of Dionysius (but none bear their animal features). Silenus usually formed part of Dionysius’s train as well; perhaps he inspired the large bearded man between the two women in blue in the foreground.

Some women wear high end outfit and sandals, others are barefoot and seem more peasant like. In fact, none of the figures in the scene dress the way high class or countrywomen did during Rubens’s time (as they are shown in his own paintings and in those by Jan Brueghel, David Teniers, or other roughly contemporary Flemish artists). Necks, breasts, and shoulders are more exposed here than they would have been in contemporary society and their uncovered hair and bare feet are also evocative of a different time and place. What the women dancers resemble is a host of timeless allegorical and mythological female figures painted by Rubens throughout his life. They also remind me of some of the bacchantes and nymphs that Titian painted in his Bachanals, following descriptions by Philostratus the Elder—dancing was a favourite activity of both types of creatures, which had the form of beautiful women.

Text translated from Alejandro Vergara, 'Comentario' in: Pasiones mitológicas, Madrid, Museo Nacional del Prado, 2021, p.110-113 nº10

[zolachrome]

New in the store: Grille shadows

We live in an old house. According to a local historian, it was probably built around 1500. Over the main window of the living room is an iron grille that most likely dates from around the same time. At the centre of the grille is an intriguing design – a fleur de lys inside an inverted heart. The same motif is also carved in the granite of the lintels above the window and the door. The…