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“The picture of the bacchante who stands motionless and stares into space must have been well known. Catullus is thinking of her when he tells of the abandoned Ariadne, who follows her faithless lover with sorrowing eyes as she stands on the reedy shore ‘like the picture of a maenad.’ Indeed, melancholy silence becomes the sign of women who are possessed by Dionysus. […]
Madness dwells in the surge of clanging, shrieking, and pealing sounds, it dwells also in silence. The women who follow Dionysus get their name, maenads, from this madness. Possessed by it, they rush off, whirl madly in circles, or stand still, as if turned to stone.”
—  Walter F. Otto, “Dionysus - Myth and Cult” (1933)


“Interno del Colosseo” by Giovanni Battista Altadonna

Italian, 1850s

albumen silver print from glass negative

Metropolitan Museum of Art

(via dame-de-pique)

“The experience of my reader shall be between the phrases, in the silence, communicated by the intervals, not the terms, of the statement, between the flowers that cannot coexist, the antithetical (nothing so simple as antithetical) seasons of words, his experience shall be the menace, the miracle, the memory, of an unspeakable trajectory. (Thoroughly worked up now by this programme, he pushed himself off the bulwark and strode the spit of the deck with long strides and rapidly.) I shall state silences more competently than ever a better man spangled the butterflies of vertigo.”
— Samuel Beckett, “Dream of Fair to Middling Women”

John Wetton
~1949 ❀ 2017~


Model of a procession of offering bearers (“The Bersha Procession”)

Egyptian, Middle Kingdom,

late Dynasty 11 – early Dynasty, 2010–1961 B.C.

Deir el-Bersha, Egypt

Dimensions: L 66.4 x 8.6 x W 42.5 cm (26 1/8 x 3 3/8 x H 16 ¾ in.


Among the more than one hundred wooden models found scattered throughout the tomb of Djehutynakht, the quality of this procession of offering bearers stands out from the others. The skill and delicacy with which it was carved and painted rank it among the finest wooden models ever found in Egypt. It shows a man and three women bringing offerings to sustain the ka of Djehutynakht in the afterlife. 

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(via drakontomalloi)

~ 1927 ❀ 2017 ~
This one hurts so much..

[Image source: Vitro Nasu]


A probable third photograph of Chopin has just been discovered!!!

(via chopindaily)


BT asked me to introduce their readers to oneiromancy and my dream studies. Seeing that I get a lot of inquiries about my voyages between two worlds I hope many of you will find the article worthwhile.

My dearest friend and ally in art and arms speaks about dreams and fate in this beautiful piece on Bodhi Tree.

“It meant something to me – the idea of a coat guarding and hiding a woman’s body. For me, a woman who is absorbed in her work, who does not care about gaining one’s favor, strong yet subtle at the same time, is essentially more seductive. The more she hides and abandons her femininity, the more it emerges from the very heart of her existence.”
— Yohji Yamamoto (via animus-inviolabilis)
“It is not desirable for anyone not to belong to my absence of community. In the same way, the absence of myth is the only inevitable myth: it fills up the depths like a wind that empties it.”
— Georges Bataille to René Char (1946)


~ Head of a Woman.
Culture: Etruscan
Date: 4th-3rd century B.C.
Place of origin: Italy, Lazio (Latium)
Medium: Terracotta, traces of paint and gilding .

(via didoofcarthage)

“I tend to follow a very nocturnal sort of existence mainly because I don’t much care for sunlight. Bright colors of any kind depress me, in fact. And my moods are more or less inversely related to the clarity of the sky, on any given day. A matter of fact, my private motto has always been that behind every silver lining there is a cloud.”
— Glenn Gould, transcribed from The Life and Times of Glenn Gould