View allAll Photos Tagged Chastity
yes, i am aware that i have another photo that looks almost exactly the same but i promise there will be new content tomorrow!
49//365
detail from the great piece of art I call my room :)
as Uncle Bowie said: "Don´t tell god your plans..."
Peace and Noise!
Theresa has feminized her husband Charles, turning the former white “male” into a docile submissive sissy boi
24/7 live in maid sissy barbie locked into a rustling teal taffeta uniform with black satin and lace trim topped off with a matching taffeta maid's cap. She also wears satin gloves, sweet roses seamed stockings and painfully narrow shoes. Hidden underneath is a black bra and suspender belt and green knickers with three rows of black lace across the front and rear. Mistress Lady Penelope keeps her securely locked in a stainless steel slave collar and a Holy Trainer chastity device.
My school is all about domination, feminization and transformation of gender girl/bimbo/slut/sissy or slave, Am a mistress of high class,I personal seek a slave, sissy, bimbo
This is the church of Inner and Middle Temple, two of England’s four ancient societies of lawyers, the Inns of Court; we are here to serve the two Inns’ members and staff, and all those who work in this area known as The Temple. We are here too to welcome worshippers and visitors from London and throughout the world.
Among other purposes, the structure was originally used for Templar initiation ceremonies. In England, the ceremony involved new recruits entering the Temple via the western door at dawn. The initiates would enter the circular nave, and then take monastic vows of piety, chastity, poverty and obedience. The details of initiation at the time were a closely-guarded secret, though this secrecy later caused trouble as gossip and rumours spread about possible Templar blasphemy. These suspicions were manipulated and expanded by the Order's enemies, such as King Philip IV of France.
The Temple Church holds regular church services, including Holy Communion and Mattins on Sunday morning. It also holds weddings, but only for members of the Inner and Middle Temples. The Temple Church serves both the Inner Temple and the Middle Temple as a private chapel.
The Temple Church has always been a royal peculiar, and the choristers have the privilege of wearing scarlet cassocks as a result. This means that it is subject to the jurisdiction of the Crown, and not of the Bishop of London. Modern-day relations with the Bishop of London are, however, very good; he regularly attends events and services at the Temple Church. The Bishop of London is also ex officio the Dean of the Chapels Royal.
Marble effigies of medieval knights in the Temple Church.
In The Da Vinci Code
The church was featured in the controversial popular novel The Da Vinci Code by American author Dan Brown and was also used as a location in the The Da Vinci Code film. The release of doves in the round church in the film relate to Ernest Lough's (the most famous boy soprano to come from Temple Church) recording of "O for the wings of a dove".
Recent lunchtime talks by the present Master (Reverend Robin Griffith-Jones) have been on the subject of the Templars and the church's role in the novel, and he has published a book on the same topic.
Caldey Island Post Office and Museum stand in front of the Abbey.The Island is run by the Cistercian Monks who came to the Island in 1929 and today number around 18. They have taken vows of chastity,obedience and poverty.
Each morning they rise at 3.15am and retire at 7.30pm Total silence is observed between 7pm and 7am. Apart from farming the monks also make perfumes and chocolates.
The Island is some 1.5 miles long and 1 mile wide and is ia short boat ride from Tenby. The boats cross to the Island during the summer months on a daily basis except Sundays
After my foot message, which felt especially good with the satin gloves, I had my slave pour me a glass of wine at the snap of my fingers.
24/7 live-in maid sissy barbie looking as pretty as she can in what has become her owner's favourite mint green satin uniform with black trim. Mistress Lady Penelope likes to see me serving her locked into this with a smile on my face, knowing I will forever remain a virgin and be under her complete control, locked in chastity and a slave collar, submissively following her every instruction instantly without question or comment other than 'Yes Mistress Lady Penelope' together with a curtsey before backing up to the door and curtseying again then going to carry out her order, performing my duties efficiently and cheerfully no matter if I have done exactly the same chore a few thousand times before. I exist to serve my Mistress, pleasing her is my only aim in life. Mistress holds me securily and disciplines me as she sees fit and if I please her exceptionally well gives me little rewards. With my labour I worship her.
If you are interested in maid training, look at Mistress Lady Penelope's excellent free web site
You can make an appointment with Mistress Lady Penelope by calling 07970183024
Pietro Vanucci. Le Perugin 1450-1523 Le combat de l'Amour et de la Chasteté. The Fight of Love and Chastity . 1504 Louvre
(Mantoue studiolo d'Isabelle d'Este). Cette série de tableaux du Louvre peints par Perugino et Lorenzo Costa pour Isabelle d'Este sont, avec les oeuvres exécutées par Mantegna pour la même commanditaire ("Mars et Vénus" et "Minerve chassant les Vices du jardin des Vertus") représentatifs de la nouvelle manière de peindre apparue en Italie vers 1500. On quitte l'époque gothique, à la fois par les thèmes des tableaux et par le style. Les thèmes sont empruntés à la mythologie grecque et romaine, le style se fait plus souple, plus fondu. Ce style est né à Florence et peut être peut on voir dans Masaccio un de ses tous premiers initiateurs.
Pietro Vanucci The Perugin 1450-1523 The Fight of Love and Chastity 1504 Louvre
(Mantua studiolo of Isabella d'Este). This series of paintings of the Louvre painted by Perugino and Lorenzo Costa for Isabella d'Este are, together with the works executed by Mantegna for the same sponsor ("Mars and Venus" and "Minerva chasing the Vices of the Garden of Virtues") representative of the A new way of painting that appeared in Italy around 1500. We leave the Gothic period, both by the themes of the paintings and by the style. The themes are borrowed from Greek and Roman mythology, the style is more flexible, more melted. This style was born in Florence and maybe we can see in Masaccio one of its very first initiators.
DE LA PEINTURE PLATE A LA PEINTURE PLEINE. GOTHIQUE ET RENAISSANCE. IMITER LA NATURE.
Selon l'auteur de l'article "Mantegna" dans Wikipédia (version française) l'art de Mantegna marque la rupture définitive avec le style gothique en plein milieu du 15è siècle et signe la "Renaissance".
Ce n'est pas inexact à condition d'apporter trois précisions.
1° C'est tout au long de l'époque gothique que la peinture européenne retrouve la capacité technique "d'imiter la nature" selon l'excellente formule de Giorgio Vasari à propos de "La Joconde". Et de ce point de vue la "Renaissance" n'est absolument pas une rupture, c'est seulement une suite, un aboutissement, un point terminal. Mantegna se situe sur ce chemin, absolument sans aucune rupture avec des peintres antérieurs ou travaillant dans d'autres régions d'Europe.
2° Par contre à la "Renaissance" se produisent deux changements par rapport à la période gothique. Deux changements qui ne constituent d'ailleurs pas des "ruptures", et encore moins des "progrès":
a) Des thèmes nouveaux tirés de l'Antiquité gréco-romaine apparaissent, en plus des thèmes religieux catholiques. Mais les thèmes religieux demeurent très vivants. Raphael, Michel Ange, ou Vinci on peint plus de tableaux religieux que de tableaux mythologiques ou historiques et leurs principaux mécènes ont été les Papes.
b) Les goûts des élites changent, et la peinture européenne quitte l'esthétique gothique, à tendances linéaires, pour une esthétique plus enveloppée, plus douce, que l'on appelée "la manière moderne". "Manière moderne" dont Masaccio, Filippo Lippi, Raphaël, Vinci, Michel Ange sont les exemples parfaits.
3° Mantegna est un peintre intéressant car il permet de constater cette évolution de manière très évidente à l'intérieur même de son oeuvre. Une grande partie de ses tableaux appartiennent encore à l'esthétique gothique, tandis que d'autres adoptent "la manière moderne", avec bien sûr des oeuvres de transition.
1° La peinture gothique est le témoin du long chemin parcouru par la peinture européenne pour passer de la "peinture plate" qui est caractéristique de l'art Byzantin, paléo-chrétien et roman, pour parvenir à une "peinture pleine". Une "peinture pleine", en trois dimensions, qui est parfaitement définie, dès la période gothique. Cette route se parcourt entre 1280 et 1450. En Italie, de Duccio et Cimabué jusqu'à Fra Angelico.
La peinture de l'Europe de l'Ouest est partie d'une représentation du monde en deux dimensions, et en deux siècles, elle a réussi à représenter, sur la surface plane d'un tableau ou d'un mur, le monde en trois dimensions. Le Monde tel que les yeux de l'homme le lui font apercevoir. C'est ce que Vasari a constaté en 1550 : la peinture est parvenue à imiter parfaitement la nature.
L'art gothique, en Europe du Nord comme en Italie, sans aucunement attendre "la Renaissance", est parvenu à cette peinture du monde en trois dimensions, conforme à notre réel :
- L'art gothique, au nord comme au sud de l'Europe, a réussi à donner aux personnages tous leurs volumes (et des expressions pyschologiques différenciées)
- L'art gothique a réussi, au nord comme au sud de l'Europe, à créer une illusion crédible des lointains.
2° Mais l'art gothique a toujours privilégié, il est vrai, une esthétique de la ligne, qui délimite très précisément les contours des êtres, des objets, des paysages, et donne à la peinture gothique son acuité et sa clarté. Cette esthétique s'est manifestée, plus d'un siècle avant, dans la verticalité accentuée de l'architecture et de la sculpture gothique. C'est cette esthétique de la ligne nette, précise, aigue, que l'on aperçoit très bien chez tous les peintres flamands de l'Ecole de Bruges et de Gand, et chez les peintres gothiques italiens (Ecole de Sienne), même tardifs, comme par exemple encore chez Fra Angelico. C'est cette esthétique de la ligne, qui caractérise aussi le gothique international.
Or les goûts esthétiques, effectivement, changent entre 1450 et 1500, en Italie. On peut parler alors d'une rupture avec l'esthétique gothique quand la peinture européenne, à l'ouest du continent, dans le monde catholique, cesse de privilégier la ligne, qui délimite nettement les contours et isole distinctement les personnages ou les objets.
La "manière moderne", née en Italie, essentiellement à Florence, propose, en remplacement, une esthétique plus atmosphérique, plus fondue, plus douce, plus suave, où les êtres et les objets, aux contours plus flous, plus vagues, plus incertains, se fondent dans leur environnement.
Ce n'est pas un progrès brutal, une rupture, car les techniques ont été acquises lentement, en deux siècles, au cours de la période gothique. C'est un changement de goût. Un changement de goût et de style que l'on aperçoit chez Mantegna (1431-1506)
De très nombreux tableaux de Mantegna sont le témoignage d'une esthétique aigue, linéaire, presque sculpturale, d'inspiration gothique, constamment maintenue pendant une grande partie de sa carrière.
Avec Mantegna nous ne sommes plus du tout dans la peinture plate de l'art roman ou Byzantin, sans volumes ni perspective, ni expressions psychologiques. Mais toutes les caractéristiques de la peinture gothique, son acuité, sa clarté, sa rigueur des contours, se constatent chez Mantegna.
La liste des oeuvres qui témoignent de ce fait est longue : La prédelle du retable de San Zeno (Tours et Louvre); la Crucifixion (Louvre); l'Agonie au jardin (NG); les Saint Sébastien du Louvre et de Vienne; la Présentation au Temple de Berlin; l'adoration des Mages des Offices, le Christ mort de la Pinacoteca Brera.
C'est tellement vrai que Isabelle d'Este, à Mantoue, juge, à l'époque, en 1490, l'esthétique de Mantegna "dépassée". Dépassée car trop gothique, et elle favorise "la manière moderne". La technique de Mantegna n'est pas dépassée, c'est la manière de ressentir le beau qui change. Ce n'est ni un progrès ni une renaissance ! C'est une sensibilité nouvelle. Un air chaud et doux qui s'installe dans le sud de l'Europe. Cet air doux Mantegna en a ressenti les effets. Sous l'impulsion d'Isabelle d'Este, un mécène à ne pas négliger, Mantegna change d'esthétique : "Le Parnasse" ("Mars et Vénus") et "Minerve chassant les Vices" du Louvre, sont deux exemples de ce changement. Ils ont été peints pour le studiolo d'Isabelle d'Este. Mantegna peint alors, ainsi que ses confrères Lorenzo Costa et Le Pérugin, des tableaux dont les thèmes sont mythologiques, et dont "la manière" n'est effectivement plus gothique. Ces tableaux, plus "moelleux" sont la démonstration que "la rupture" entre l'art gothique et l'art renaissant n'est pas technique. C'est une simple question de goût. Une esthétique qui change.
Le Saint Sébastien- Bacchus de Léonard de Vinci (Louvre) représente une toute autre esthétique ( et une toute autre pensée, mais c'est une autre question) que les Saint Sébastien de Mantegna (Louvre et Vienne). Il n'y a pas plus de volumes, ni plus de perspective chez Vinci que chez Mantegna, mais la représentation du monde est infiniment plus atmosphérique, plus fondue, plus coulée, plus souple chez Vinci. Les Vierges de Raphaël ont une douceur, dans le dessin, une souplesse aérienne, une beauté flexible, diffuse, moelleuse, que n'ont pas les magnifiques Vierges de Mantegna (Milan, Berlin, Vérone, Londres..).
Cette évolution esthétique, cette "manière moderne" n'est pas une "Renaissance", au sens de progrès. Des progrès techniques ont effectivement existé en peinture, comme dans d'autres domaines, depuis l'effondrement de l'Empire Romain. Mais ces progrès ne sont pas des progrès esthétiques bien sûr, et ces progrès techniques se sont produits pendant la période romane et gothique. La renaissance est au bout de cette route du progrès des techniques.
L'appellation de "renaissance" est totalement idéologique, elle ne correspond pas à des faits historiques. C'est une manière d'écrire l'histoire dictée par une conception évolutionniste, abusivement progressiste, de l'homme et du monde. La nouvelle religion profane de l'Occident. Historiquement elle est fausse :
Il n'y a pas progrès, ni rupture, entre Notre Dame de Paris et San Lorenzo de Florence.
Il n'y a pas progrès, ni rupture, entre Jan Van Eyck, Robert Campin et Mantegna.
Il n'y a pas progrès, ni rupture, entre Mantegna et Raphaël ou Vinci.
Ou alors il faut écrire que Manet et Matisse et "la peinture plate" de l'art moderne représentent une régression par rapport à la "peinture pleine" de Rembrandt et Rubens.
FROM THE FLAT PAINTING TO THE FULL PAINTING. GOTHIC AND RENAISSANCE. IMITATE THE NATURE
According to the author of the article "Mantegna" in Wikipedia (French version) "the art of Mantegna marks the definitive rupture with the Gothic style in the middle of the 15th century and signs the Renaissance".
This is not inaccurate, provided three clarifications are made.
1) It was throughout the Gothic period that European painting once again found the technical ability to "imitate the nature" according to Giorgio Vasari's excellent formula about "La Gioconda" (the Mona Lisa). And from this point of view the "Renaissance" is absolutely not a rupture, it is only a continuation, a culmination, a terminal point. Mantegna is located on this path, absolutely without any break with previous painters or working in other regions of Europe.
2. However to the "Renaissance" occur two changes compared to the Gothic period. Two changes that do not constitute "ruptures", let alone "progress":
A) New themes derived from Greco-Roman antiquity appear, in addition to Catholic religious themes. But the religious themes remain very much alive. Raphael, Michelangelo, and Vinci paint more religious paintings than mythological or historical paintings and their main patrons were the Popes.
B) The tastes of the elites change, and the European painting leaves the Gothic aesthetics, with linear tendencies, for a more enveloped, softer aesthetic that is called "the modern way". "Modern way" of which Masaccio, Filippo Lippi, Raphael, Vinci, Michelangelo are the perfect examples.
(3) Mantegna is an interesting painter because it allows us to see this evolution very clearly inside the work itself. A large part of his paintings still belong to the Gothic aesthetic, while other works adopt "the modern way", with of course works of transition.
1° The Gothic painting is a witness to the long road of European painting to move from the "flat painting" which is characteristic of Byzantine art , Paleo-Christian art and Roman art, to achieve a "full painting". A "full painting", in three dimensions, which is perfectly defined, from the Gothic period. This road travels between 1280 and 1450. In Italy, from Duccio and Cimabué to Fra Angelico.
The painting of Western Europe is start from a representation of the world in two dimensions, and in two centuries it has managed to represent, on the flat surface of a table or a wall, the world in three dimensions. The world as the eyes of man make him see. This is what Giorgio Vasari noted in 1550: the painting has managed to perfectly imitate the nature.
The Gothic art, in Northern Europe as in Italy, without any expectation of the "Renaissance", has arrived at this painting of the world in three dimensions, in conformity with our real:
- The Gothic art, in the north as in the south of Europe, has managed to give the characters all their volumes (and differentiated the pyschological expressions)
- The Gothic art succeeded, in the north as in the south of Europe, to create a credible illusion of the distant.
But the Gothic art has always favored, it is true, an aesthetic of the line, which delimits very precisely the contours of beings, objects and landscapes, and gives the Gothic painting its acuteness and clarity. This aesthetic was manifested more than a century before, in the accentuated verticality of Gothic architecture and sculpture. It is this aesthetic of the line clear, precise, and sharp, that one sees very well in all the Flemish painters of the School of Bruges and Ghent, and in the Italian Gothic painters (School of Siena), even late, as for example still in Fra Angelico. It is this aesthetics of the line, which also characterizes the international gothic.
But the aesthetic tastes, indeed, change between 1450 and 1500, in Italy. We can speak then of a rupture with the Gothic aesthetic when European painting, on the western continent, in the Catholic world, ceases to privilege the line, which delimits definitely the contours and isolate separately the personages or the objects.
The "modern way", born in Italy, mainly in Florence, proposes, instead, as an alternative, a more atmospheric aesthetic, more melting, softer, more suave, in which beings and objects, with more vague and uncertain contours, blend into their environment. This is not a brutal progress, not a break, because the techniques were acquired slowly, in two centuries, during the Gothic period. It is a change of taste. A change of taste and of style that can bee seen in Mantegna.
Very many of Mantegna's paintings bear witness to an acute aesthetic, linear, almost sculptural, of Gothic inspiration, constantly maintained during a large part of his career.
With Mantegna we are no longer in the "flat painting" of Roman or Byzantine art, without volumes, perspective or psychological expressions. But all the characteristics of Gothic painting, its acuteness, its clarity, its rigor of contours, are still seen in Mantegna.
The list of works that bear witness to this fact is long: The predella of the altarpiece of San Zeno (Tours and Louvre); The Crucifixion (Louvre); Agony in the Garden (NG); The San Sebastián of the Louvre and of Vienna; The Presentation at the Berlin Temple; The adoration of the Magi of the Uffizi, the dead Christ of the Pinacoteca Brera.
It is so true that Isabella d'Este, in Mantua, judge, at the time, in 1490, the aesthetic of Mantegna "outdated". Exceeded because too Gothic, and Isabelle d'Este favors "the modern way". The technique of Mantegna is not outdated, it is the way of feeling the beautiful that changes. It is neither progress nor a renaissance ! It is a new sensibility. A warm and soft air that settles in southern Europe. This sweet air, Mantegna felt the effects. Under the impulse of Isabelle d'Este, a patroness not to be neglected, Mantegna changed its aesthetic: "Parnassus" ("Mars and Venus") and "Minerva chasing the Vices" of the Louvre, are two examples of this change. They were painted for the studio of Isabella d'Este. Mantegna paints, as well as his colleagues Lorenzo Costa and Le Pérugin, paintings whose themes are mythological, and whose "way" is actually no longer Gothic. These "mellow" paintings are the demonstration that the "rupture" between Gothic and Renaissance art is not technical. It is a simple matter of taste. An aesthetic that changes.
The Saint Sebastian-Bacchus of Leonardo da Vinci (Louvre) represents a very different aesthetic (and a different thought, but that is another question) than the San Sebastián de Mantegna (Louvre and Vienna). There is no more volume or more perspective in Vinci as in Mantegna, but the representation of the world is infinitely more atmospheric, more melted, more flowing, more flexible in Vinci. The Virgins of Raphael have a sweetness in the drawing, an aerial suppleness, a flexible, diffuse, and mellow beauty that do not posses the magnificent Virgins of Mantegna (Milan, Berlin, Verona, London) .
This aesthetic evolution, this "modern way" is not a "Renaissance", in the sense of progress. Technical advances have actually existed in painting, as in other fields, since the collapse of the Roman Empire. But these advances are not aesthetic progress of course, and these technical advances occurred during the Romanesque and Gothic period. The renaissance is at the end of this road of technical progress.
The name of "rebirth" is totally ideological, it does not correspond to historical facts. It is a way of writing history dictated by an evolutionary, abusively progressive conception of man and the world. The new profane religion of the West. Historically it is false:
There is no progress, no break, between Notre Dame of Paris and San Lorenzo of Florence.
There is no progress, no break, between Jan Van Eyck, Robert Campin and Mantegna.
There is no progress, no rupture, between Mantegna and Raphael or Vinci.
Or we must write that Manet and Matisse and the "flat painting" of modern art represent a regression with respect to the "full painting" of Rembrandt and Rubens.
24/7 live in maid sissy barbie locked into a rustling teal taffeta uniform with black satin and lace trim topped off with a matching taffeta maid's cap. She also wears satin gloves, sweet roses seamed stockings and painfully narrow shoes. Hidden underneath is a black bra and suspender belt and green knickers with three rows of black lace across the front and rear. Mistress Lady Penelope keeps her securely locked in a stainless steel slave collar and a Holy Trainer chastity device.