Those are pearls that were his eyes
Le sens trop précis rature //
Ta vague littérature.
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' Fortune’s wheel' - Guillaume de Machaut, A True Story (Le voir dit). Paris, end of the 14th century. From the collection of the Bibliothèque Nationale de France 
(from Paraphilia Magazine)


Max Ernst (1891-1976) Paysage Noir 1923 oil on plywood 31.5 x 39.8 x 1 cm

Que saisir sinon qui s’échappe,      
Que voir sinon ce qui s’obscurcit,
Que désirer sinon qui meurt,
Sinon qui parle et se déchire ?

Parole proche de moi
Que chercher sinon ton silence,
Quelle lueur sinon profonde
Ta conscience ensevelie,

Parole jetée matérielle
Sur l’origine et la nuit ?

—Yves Bonnefoy, Du mouvement et de l’immobilité de Douve

Paul Klee - Memory of a Bird (1932)


Pectoral and Necklace of Sithathoryunet with the Name of Senwosret II
12th Dynasty, Middle Kingdom, Egypt
c.1887-1878 BC
This pectoral is composed around the throne name of King Senwosret II. It was found among the jewellery of Princess Sithathoryunet in a special niche of her underground tomb beside the pyramid of Senwosret II at Lahun. Hieroglyphic signs make up the design, and the whole may be read: “The god of the rising sun grants life and dominion over all that the sun encircles for one million one hundred thousand years [i.e., eternity] to King Khakheperre [Senwosret II].”This cloisonné pectoral is inlaid with 372 carefully cut pieces of semiprecious stones. The heraldic design is replete with symbolism. Zigzag lines on the base bar represent the primordial waters out of which the primeval hill emerged. Each of the falcons, symbols of the sun god, clasps a circular hieroglyph meaning “encircled,” thus declaring the solar deity’s supreme power over the universe. The same hieroglyph, elongated to form a cartouche, encircles the throne name of Senwosret II, Khakheperre. Flanking the king’s name are two ankh hieroglyphs (meaning “life”) suspended from cobras whose tails are wound around the sun disk on the falcons’ heads. These snakes represent Nekhbet and Udjo, the traditional protector goddesses of the king. Supporting the royal cartouche is the kneeling god Heh clutching two palm ribs symbolizing “millions of years.” Thus the king’s life and existence in time are described as part of a universe created and sustained by the supreme sun god.Jewellery worn by royal women during the Middle Kingdom was not simply for adornment or an indication of status but was also symbolic of concepts and myths surrounding Egyptian royalty. Jewellery imbued a royal woman with superhuman powers and thus enabled her to support the king in his role as guarantor of divine order on earth. It was essentially the king who benefited from the magical powers inherent in the jewellery worn by the female members of his family, which explains why his name, rather than that of the princess, appears in the designs.Since the tomb of the princess was beside the pyramid of Senwosret, scholars speculate that she was his daughter. Other items in the tomb bear the name of Amenemhat III, suggesting that the princess lived during the reigns of three of the most powerful rulers of Dynasty 12: Senwosret II, Senwosret III, and Amenemhat III.
(Source: The Metropolitan Museum)

❝ Todo se transforma, nada perece; el espíritu anda errante,
va de aquí allá y de allí acá, ocupando cualquier cuerpo.

— Publio Ovidio Nasón, Metamorfosis, XV, “Discurso de Pitágoras”


Ivan Kliun
Gouache on paper (28.8 x 20 cm) Omsk, Private Collection
Great Work!!


Frans Floris the Elder, The Death of Adonis, 16th century

❝ The higher that the cedar tree unto the heavens doth grow,
The more in danger is the top when sturdy winds gan blow.

— "Of the Mean State", Paradise of Dainty Devices, by Thomas Lord Vaux or William Hunnis


De la rue des Abbesses

Description :
Les Trente-six vues de la Tour Eiffel. Entre 1888 et 1902. Fonds Gustave Eiffel

Auteur :
Rivière Henri (1864-1951)

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