View allAll Photos Tagged Veracity
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💫 Event: Velvet Bohéme 1st - 14th September 💫
Skin: Glam Affair – Imogen
Outfit: LEROY – Tiffany
LEROY Tiffani Leather Coat Fatpack
comes in sizes LaraX, Legacy, Perky and Reborn
LEROY
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piXit Albertine poses
LaraX
It's incredible how Velvet Bohème has truly been inspiring me, not only creatively-wise, but even inviting introspection. SL is really a magical virtual world and our talented creators bring us so much joy that I feel blessed and thankful. Namaste!
There's a ton of goodness in this picture, pretty much all released at Velvet Bohème. I fell in love with Not Found Maple skin that I am wearing, especially the freckles version, and I think I will be wearing this for a while. I am also in love with my Tiriel tattoo from Noya, part of their collaboration with high v. for this boho chic fest. LODE, of course, never disappoints, and their Wildflower hair accessory is just perfection.
My outfit is from Fashionably Dead, called Ecletic Boho Set, and I am wearing the Celestial Cord Shorts & Western Cap Tee, but the set includes a gorgeous retro crochet cardi you will not want to miss.
The Azoury Bohelys sandals are stunning and I paired them with Meva leg bands and loved how they looked combined.
No wonder my inventory numbers are close to 300K (shhhh, our secret, I will deny ever saying this), who can resist all this stunning decor? NOMAD's Bohemian raft is super cute and available in PG and Adult versions, and looks perfect on dry ground and water! Express your gratitude and recognize and honor the sacred spark within you with KOPFKINO's Awareness set, that is exquisitely well done. CONCEPT gacha LACALA is another jaw dropping set, but that does not surprise me, I have a TON of their creations and love each single piece.
☯ Come experience boho living at Velvet Bohème:
All'interno della Cattedrale si trovano le due opere monegasche dell'artista Ludovico Brea, il maggior esponente del Rinascimento in Liguria: il Polittico di san Nicola e la Pietà.
Poiché il nome di Ludovico Brea, sul finire del quindicesimo secolo, aveva già acquisito una certa importanza, dato che l'artista aveva eseguito diversi lavori sia a Nizza che a Genova, l'allora signore di Monaco, Giovanni II, che era impegnato in una politica di patrocinio delle arti e delle lettere, decise di chiamare Ludovico a Monaco per commissionargli alcuni dipinti.
Il primo di questi fu proprio il Polittico di san Nicola.
A livello stilistico, oltre all'eccezionale monumentalità del san Nicola in cattedra, dobbiamo notare il realismo con cui sono raffigurate le fattezze dei personaggi, che per l'epoca era molto alto.
L'altra opera della Cattedrale di Monaco, la sua Pietà è stata realizzata poco dopo il polittico di san Nicola: siamo nel 1505.
Il corpo inarcato del Cristo rimanda invece a un'altra fonte di Ludovico Brea, la pittura fiamminga, mentre la veridicità delle espressioni dei personaggi (il loro dolore è reso in modo tangibile) si deve ancora alla pittura lombarda.
Due opere quindi molto belle ed eleganti ma soprattutto molto interessanti: ci riportano indietro di circa cinquecento anni e ci fanno conoscere diversi aspetti del contesto storico e artistico del tempo. E soprattutto, due opere che ci dimostrano come nel principato di Monaco sia possibile superare gli stereotipi!
Fonte Internet -Finestresull'arte
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Inside the cathedral are the two works Monegasque artist Ludovico Brea, the greatest exponent of the Renaissance in Liguria: the Altarpiece of St. Nicholas and the Pietà.
Because the name of Ludovico Brea, in the late fifteenth century, had already gained some importance, given that the artist had done several jobs both in Nice and Genoa, the then lord of Monaco, John II, who was engaged in a policy of patronage of the arts and letters, he decided to call Ludovico in Monaco to commission paintings.
The first of these was precisely the Altarpiece of St. Nicholas.
Stylistically, in addition to the exceptional monumentality of St. Nicholas in the chair, we should note the realism with which depicts the features of the characters, which at the time was very high.
The other work of the Cathedral of Monaco, his Pietà was made shortly after the altarpiece of Saint Nicholas: we are in 1505.
The arched body of Christ refers instead to another source of Ludovico Brea, Flemish painting, while the veracity of the expressions of the characters (their pain is made in a tangible way) you still need to Lombard painting.
Two works so very beautiful and elegant but also very interesting: take us back to some five hundred years and make us learn about different aspects of the historical and artistic context of the time. And above all, two works that show us that in the principality of Monaco is possible to overcome the stereotypes!
Source Internet -Finestresull'arte
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❇ SCANDALIZE MERU SET INTERACTIVE FATPACK
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❇ Exile - Marigold
Available at 📌 VELVET BOHEME
After the Event,at 📌 EXILE
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📌 LELUTKA Avalon Head
📌 LEGACY- PERKY Meshbody (f)
✨ Summer legs deserve some love ✨
Our handmade boho-style calf jewelry with pearls brings that free spirit vibe right to your skin. Light, playful, and perfect for festivals, the beach, or just going barefoot through life. Available @ Velvet Bohème-Seeraphim SL Event
Opening: 1st September 2025 1pm SLT
Closes: 14th September 2025 1pm SLT
Velvet Bohème isn’t just a shopping event - it’s a celebration of the bohemian way of life. This Friday, starting at noon, the air will be filled with music and boho spirit. Live performances from Fly Kugin and Steve Forrest will guide us into the evening, and as the stars rise, DJs Maya and INVAD3R will keep the boho vibes flowing deep into the night. ✨
My festival look is ready: the fierce DEAD DOLL Aria boots, combined with the flowing dreamy dress and lingerie by Elune that really wowed me. My hairstyle, Sage, by Navy + Copper, is perfectly adorned with the wild beauty of LODE’s Wildflower hairpiece, and to finish the look, the perfect jewelry: Caviar pendant by SIGMA. Every piece can be discovered in the shopping haven of Velvet Bohème.
This picture was taken at the stage area of the event, which Kess decorated in the most wonderful way. 🌿
Come live the boho dream at Velvet Bohème:
TEMPO DI PANDEMIA, TEMPO DI SACRIFICI.
La peste del 1348 è un argomento già dibattuto negli ambienti scientifici e accademici. La pandemia, le reazioni delle comunità colpite e
gli interventi istituzionali spesso molto duri e incisivi che essa provocò, sono stati anche lo
sfondo scenografico per rappresentazioni allegoriche di realtà sociali e politiche invece
molto attuali e concrete.
La grande pandemia che colpì l’Europa tra il 1347 e il 1350, e che venne in seguito
denominata peste nera fu forse la patologia che impressionò maggiormente sia i
cronachisti del tempo che gli storici moderni e contemporanei.
Un morbo, la peste, la cui provenienza orientale è riportata da quasi tutte le fonti
storiche. La sua marcia verso ovest, secondo quanto riportato da alcune cronache, venne
accompagnata da alcuni prodigi che sembrano raccolti a piene mani dalla credenza
popolare e che, a loro modo, ne avrebbero annunciato la venuta.
L’Italia ebbe il poco invidiabile privilegio di esser stato il primo Paese
dell’Occidente colpito da questo autentico flagello. E’ proprio per questa ragione che per
l’Italia le cronache coeve tracciano gli scenari più apocalittici e indicano un tasso di
mortalità in alcuni casi talmente elevato da far dubitare della sua veridicità.
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TIME OF PANDEMIC, TIME OF SACRIFICES.
The plague of 1348 is a topic already debated in scientific and academic circles. The pandemic, the reactions of the affected communities e
the often very hard and incisive institutional interventions that it provoked have also been so
scenographic background for allegorical representations of social and political realities instead
very current and concrete.
The great pandemic that struck Europe between 1347 and 1350, and which came later
called black plague was perhaps the pathology that most impressed both the
chroniclers of the time that modern and contemporary historians.
A disease, the plague, whose eastern origin is reported by almost all sources
historical. His march west, according to some chronicles, came
accompanied by some prodigies that seem to have been collected from the sideboard
popular and who, in their own way, would have announced its coming.
Italy had the unenviable privilege of being the first country
of the West struck by this real scourge. It is precisely for this reason that for
contemporary Italian chronicles trace the most apocalyptic scenarios and indicate a rate of
mortality in some cases so high as to make one doubt its veracity.
CANON EOS 6D Mark II con ob. CANON EF 100 mm f./2,8 L Macro IS USM
Continuing to fill in the trip journal photo log here is just another simple shot I like from this chase that was a true trip highlight.
Montana Rail Link's 844 Logan Local is seen at about MP 6.3 on MRL's 6th Sub (Harrison Branch) rolling north (timetable east) through a lonelu western high plains landscape. They are cresting a little hump after crossing MT Route 359 and will start to drop down toward Antelope Creek which they'll follow back through a canyon that cuts through the London Hills on their return toward the 5th Sub (former NP passenger main) at Sappington. Leading the eight loaded covered hoppers are two classic EMD GP35s, MRL 403 and 401 blt. Dec 1964 as DRGW 3039 and Jan. 1964 as DTI 353 respectively.
Serving only one customer, this branch sees service once a week at most to reach the tiny country elevator at the end of the line. I can't verify the veracity of this claim, but I've been told by railroaders that the only reason this anachronism survives is that the owner of the Harrison Elevator Co. is an old friend of MRL's owner, billionaire industrialist Dennis Washington. If true it would certainly help to explain the otherwise unexplainable!
This branch itself was originally built to Harrison by a Northern Pacific subsidiary in 1889 and extended a year later another 10 miles or so to Norris. Additionally at Harrison another branch forked 7 miles west to a small mining area at Pony. This branch was cut back by the NP during WWII and the outer 10 miles of the main stem to Norris succumbed under BN in 1975 leaving what was left to pass to MRL in 1987.
As for the railroad itself, countless articles have been written about the MRL over the past 35 years of its existence and if you care to learn more download this great series courtesy of Trains Magazine:
www.trains.com/wp-content/uploads/2022/05/TRN-MRL.pdf
Madison County, Montana
Tueaday September 6, 2022
Tiffany Leather Coat @leroystore.sl x Velvet Bohéme
Taxi: maps.secondlife.com/secondlife/Veracity/48/101/22
Fall Front Door {Scene} @synnergytavis.sl x Main
The rendering of your emotional highway has no barriers?
what do your deepest fears cross and encounter?
is there cherishment upon the way that feeds your heart?
picking moments with which the Soul is eaten, in part
is it the deliverer, the healer, the persecutor impart
smoothly surfaced into the light of day passing
a room, destiny, space, in time, rivers flowing
still in mind, awakening the emotive checklist of strife
recording movements and controlling daily schedules
watching every living matter, is this what you call life??
bear in mind what you simply cannot bear to face
with eyes closed, the entitled apparition becomes real
a chest note unspoken, which designs a noted bas-relief
filled with emotional spirit and natural purulency
go beyond the norm, look further afield, inherit more belief
taking your hand, reinvigorating this life shared
second to none and afraid no more, seize the willowed moment!
behold the veranda of opportunity and purest veracity
entering such a thalamus of hidden and untold dreams
here we feel the world in our hands within plentiful capacity
there is no wrong in a oneness of love, a oneness of spirit
where Nature is present, life abounds in surviving heartbeats
theurgic possibilities astride hermetic touches advancing
where breaths become deeper and silently longing
forever becomes the present of predestined-eternity's glancing
we are the insight of ourselves when open to heavenly calling
into our destiny we strive purely, future surrendered today
as the past catches up with the forgiveness of time itself
we're bold enough to go where our resistance never dared step
a shell of time, and only time will tell where we may tread ourself
are we to remain in fate's shadow, or shall we reflect glory -
on our own offering of light and illumination unto our present?
leaving a prosaic society aside, let your spirit touch it's potential
realise and embrace it, share and reach the four corners of your soul
such propensity of jubilant goodness within every heart existential.
by anglia24
13h35: 20/02/2008
©2008anglia24
Picture: A man enjoying browsing with his mobile phone.
Location Magic Kingdom, Disney World, Orlando.
A fairy tale is a type of short story that typically features folkloric characters, such as fairies, goblins, elves, trolls, dwarves, giants or gnomes, and usually magic or enchantments. However, only a small number of the stories refer to fairies. The stories may nonetheless be distinguished from other folk narratives such as legends (which generally involve belief in the veracity of the events described)[1] and explicitly moral tales, including beast fables.
In less technical contexts, the term is also used to describe something blessed with unusual happiness, as in "fairy tale ending" (a happy ending)[2] or "fairy tale romance" (though not all fairy tales end happily). Colloquially, a "fairy tale" or "fairy story" can also mean any far-fetched story or tall tale.
In cultures where demons and witches are perceived as real, fairy tales may merge into legends, where the narrative is perceived both by teller and hearers as being grounded in historical truth. However, unlike legends and epics, they usually do not contain more than superficial references to religion and actual places, people, and events; they take place once upon a time rather than in actual times.[3]
Fairy tales are found in oral and in literary form. The history of the fairy tale is particularly difficult to trace because only the literary forms can survive. Still, the evidence of literary works at least indicates that fairy tales have existed for thousands of years, although not perhaps recognized as a genre; the name "fairy tale" was first ascribed to them by Madame d'Aulnoy in the late 17th century. Many of today's fairy tales have evolved from centuries-old stories that have appeared, with variations, in multiple cultures around the world.[4] Fairy tales, and works derived from fairy tales, are still written today.
The older fairy tales were intended for an audience of adults, as well as children, but they were associated with children as early as the writings of the précieuses; the Brothers Grimm titled their collection Children's and Household Tales, and the link with children has only grown stronger with time.
Folklorists have classified fairy tales in various ways. The Aarne-Thompson classification system and the morphological analysis of Vladimir Propp are among the most notable. Other folklorists have interpreted the tales' significance, but no school has been definitively established for the meaning of the tales.
Source from: en.wikipedia.org/wiki/Fairy_tale
The Keilani Collection blends boheme inspiration with soft, modern design. The newest pieces include the curved Keilani Sofa with plush pillows and blanket and the Keilani Potted Plant, which pair seamlessly with existing favorites like the Keilani Divider and Driftwood Hanging Bottles. With versatile color options and whimsical detailing, Keilani brings a free-spirited yet effortlessly stylish feel to any space.
♡ If you are a VIP, don't forget to wear your moss&mink VIP tag to get the snazzy Keilani plant for Free. It comes with a color HUD, making it perfect for matching all kinds of spaces. ♡
♡ Cielo
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Sometimes putting looks together is all I need to feel good. Boho styling allows you to be super creative with the mix and matching, as you layer fabrics and textures, and combine crochet and lace, suede and silk, satin and cotton and so much more.
I am obsessed with my current look, featuring [SHIFUKU] Boho long cardigan and DEAD DOLL Aria boots which are iconic. [SHIFUKU] release for the boho chic festival also includes a gorgeous long dress with beautiful prints. As for the boots, tons of colors for the optional lace socks and even more options for the cutest bow on the right boot. Vittoria really delivered in style with these boots ♥ Both are available at Velvet Bohème festival, as is my beautiful skin, called Karen, by Glam Affair.
☯ Come experience boho living at Velvet Bohème:
maps.secondlife.com/secondlife/Veracity/193/128/22
The perfect combo of those pieces is achieved with The Kiwi Co. Celeste Noir Bra and Bodychain and Just Landed shorts. The delicate texture of the Celeste Noir bra is perfection and fits your curves like a second skin, and is available in PBR and legacy textures, as is the Just Landed Collection. Both available at the mainstore here and if you haven't yet, you need to go try them out: maps.secondlife.com/secondlife/The%20Kiwi%20Co/128/128/27
Thank you so much, The Kiwi Co., for the opportunity, I am thrilled to join the bloggers team!
New collection at Velvet Bohème.
September 1st - 14th
maps.secondlife.com/secondlife/Veracity/144/74/22
Original Mesh 100%
PBR textures
** Moi j'ai pas l'étoffe, pas les épaules, pas les épaules
Pour être une femme de mon époque
On vit vraiment une drôle d'époque
Tu voudrais voir en moi
Ta mère et ta sauveuse
Que je porte ma croix
En restant amoureuse
Mais je sais pas, je sais pas, je sais pas
Être cette femme
Cette femme
Être cette femme **
www.youtube.com/watch?v=OqcrSqg9SBU
littlefox. - Rosalie Set
Velvet Bohème event
Start: 1st September
Taxi:
INFO & STYLE CREDITS:
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💗 (fd) Eclectic Boho Set @ Velvet Boheme Sept.
❖ (fd) Western Cap Tee - FATPACK
❖ (fd) Retro Crochet Cardigan - FATPACK
❖ (fd) Celestial Cord Shorts - FATPACK
❖ Sizes: Reborn/Waifu, Lara/Petite/LaraX/petiteX, Legacy/Perky, Gen.X Classic
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📌 Main Store: maps.secondlife.com/secondlife/fd%20mainstore/129/51/51
______________________
💗 WINGS-HAIR-TF0615 Fatpack
📌 Main Store: maps.secondlife.com/secondlife/The%20Sign/187/126/23
______________________
What is most needed today
(Arthur Pink, "Eternal Punishment")
It is the deepening conviction of the writer,
that what is most needed today, is a wide
proclamation of those truths which are the
least acceptable to the flesh.
What is needed today, is a scriptural setting
forth of the character of God—
His absolute sovereignty,
His ineffable holiness,
His inflexible justice,
His unchanging veracity.
What is needed today, is a scriptural setting
forth of the condition of the natural man—
his total depravity,
his spiritual insensibility,
his inveterate hostility to God,
the fact that he is "condemned already"
and that the wrath of a sin-hating God
is even now abiding upon him!
What is needed today, is a scriptural setting
forth of the alarming danger which sinners
are in—the indescribably awful doom which
awaits them, the fact that if they follow their
present course only a little further—they shall
most certainly suffer the due penalty of their
iniquities!
What is needed today, is a scriptural setting
forth of the nature of that dreadful punishment
which awaits the lost—
the awfulness of it,
the hopelessness of it,
the unendurableness of it,
the endlessness of it!
Excepting the Cross of Christ, nothing else
so manifests the heinousness of sin—as the
doctrine of eternal punishment.
It is just because these truths have been
withheld so much from public ministry to
the saints—that we now find so many
backboneless, sentimental, lop-sided
Christians in our assemblies!
A clearer vision of the awe-inspiring attributes
of God—would banish much of our levity and
irreverence.
A better understanding of our depravity by
nature—would humble us, and make us see
our deep need of using the appointed means
of grace.
A facing of the alarming danger of the lost
sinner—would cause us to "consider our ways"
and make us more diligent to make our "calling
and election sure."
A realization of the unspeakable misery which
awaits the lost (and which each of us fully merited)
would immeasurably deepen our gratitude, and bring
us to thank God more fervently—that we have been
snatched as brands from the burning, and delivered
from the wrath to come! It would also make us far
more earnest in our prayers—as we supplicate God
on behalf of the unsaved.
A wider view of the end of the line on Montana Rail Link's 6th Subdivision branch line to Harrison.
Serving only one customer, the branch sees service once a week at most via a line seemingly pulled straight out of the old west. Climbing a better than 2% grade along scenic Little Antelope Creek the line crosses multiple ancient wooden trestles and passes ghost towns along the high plains enroute to reach the tiny country elevator. I can't verify the veracity of this claim, but I've been told by railroaders that the only reason this anachronism survives is that the owner of the Harrison Elevator Co. is an old friend of MRL's owner, billionaire industrialist Dennis Washington. If true it would certainly help to explain the unexplainable!
This branch itself was originally built to Harrison by a Northern Pacific subsidiary in 1889 and extended a year later another 10 miles or so to Norris. Additionally at Harrison another branch forked 7 miles west to a small mining area at Pony. This branch was cut back by the NP during WWII and the outer 10 miles of the main stem to Norris succumbed under BN in 1975 leaving what was left to pass to MRL in 1987.
The 840 local from Logan has arrived with three cars behind two classic EMD GP35s (MRL 403 and 401 blt. Dec 1964 as DRGW 3039 and Jan. 1964 as DTI 353 respectively). They will exchange them for eight loads before starting back toward Sappington and the 5th Sub and the run east back home.
As for the railroad, countless articles have been written about the MRL over the past 35 years of its existence and if you care to learn more download this great set courtesy of Trains Magazine:
www.trains.com/wp-content/uploads/2022/05/TRN-MRL.pdf
Unincorporated Harrison
Madison County, Montana
Tueaday September 6, 2022
Ab abstractum, ad infinitum...
Two iPads eying each other.
I rarely publish self-portraits like this mainly because, as I have four arms, they usually elicit some sort of comment from folk, and that makes me feel self-conscious.
This is for the Flickr Friday theme this week of Recursion which I found intriguing. Recursion is a concept that reminds me of the happy days when I used to learn new programming languages by writing programs to play board games like Reversi (Othello).
Recursion in that context is one program routine calling a nested copy of itself repeatedly, and it was useful to analyse board scores several moves in advance to work out which initial move was most powerful. As you can imagine I sold the rights to that idea to DeepMind and retired on the proceeds some while ago…
The approach I have used here of using two devices with front-facing cameras to provide the visual recursion is hardly a novel idea, I am sure, but I’d not done it before and wanted to try it out as a proof of concept. Previously I’d just used a single device and a mirror.
To be honest, it was a real fiddle to get even half right - point it in the right direction with the right position and right height and tilt, and plonk the screen to focus and then trigger the shutter... Great fun was had!
And with this still shot you rather miss out on the real fun which was watching a change in the initial image percolating down the stack of frames, at about four or five frames a second.
It’s also interesting to see how the saturation increases in successive iterations - so much for the iPad’s colour veracity then!
Thank you for taking the time to look. I hope you enjoy the image! Happy Flickr Friday :)
[Edit: If you have not played with this kind of thing before you may find this visually confusing, so I thought I would add some explanation.
There are two identical iPads involved here, one with a green cover (you can see that at the top), and one with a black cover, though it’s folded back so you only see the hinge at the bottom.
Both iPads have their cameras switched on to use the front-facing camera on the device - the selfie one. Both display a live view on their screens of what their camera is seeing.
The green iPad is lying on my dining table (brown cover) facing up to the ceiling.
I am holding the black iPad upside down (facing the green iPad) about 12 or 15 inches above the green. I’m taking the picture we see here with the black, suspended, iPad.The picture shows the green iPad and its screen.
But the green iPad screen is showing what it is seeing, which is the black iPad with my finger on the shutter button. It is also showing what the black iPad is showing on its display - which is this image. And so we have the first degree of recursion - I am taking an image of the image I am taking… And this image of the image I am taking shows the image of the image I am taking as well (via the green and black iPads again) and so the recursion continues and disappears into itself in the distance.
Technical note: You can do this with a single device and a mirror but you run into a problem. The camera on these devices is not in the centre of the screen but set in the edge of the device outside the display area. To get the image of table (green) iPad in the frame I needed to tilt the suspended iPad to one side.
This creates a perspective distortion in the image - I fixed this with a perspective correction while processing the main image, but you can see it still in the images within images. If you use a mirror then the perspective distortion gets worse with each iteration.
But what I did here was to use two devices both with similar offset cameras. Placing one camera at one side and the other camera at the other (the green camera is on the right and the black camera was on the left) means that the two perspective distortions work against each other (negative feedback) so the image is much more centralised.
I didn’t realise this when I started - it was a happy accident! My main problem was convincing the suspended black iPad to orient the display so that the shutter button wasn’t on the same side as the camera so I didn’t obscure the camera with my finger... sigh.
I hope these notes help you if you try it yourself - do have a go: it’s fun.]
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HAIR:
Navy+Cooper - Sage Hairstyle
Available at Velvet Boheme
Taxi: maps.secondlife.com/secondlife/Veracity/193/128/22
Flickr: www.flickr.com/photos/gia-pawpad/54761521690/in/dateposted/
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OUTFIT:
Little Fox - Rosalie Set
Available at Fameshed
Taxi: maps.secondlife.com/secondlife/Veracity/193/128/22
Flickr: www.flickr.com/photos/136026381@N07/54755757449/in/dateposted/
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MAKE UP:
Warpaint - Vesperia Eyeshadow
Available at FLF Bday Bash
Taxi: maps.secondlife.com/secondlife/Intoxicating/150/152/26
Flickr: www.flickr.com/photos/_mafy_/54735694011/in/dateposted
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POSE:
OMY - Presley Fatpack
Available at Kustom9
Taxi: maps.secondlife.com/secondlife/kustom9/148/3/1003
Flickr: www.flickr.com/photos/145472540@N05/54721637228/in/dateposted/
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My business partner brought in his little girl who, after about a year of thinking I was Satan, is now delighted to come and talk to me at every opportunity.
After her declaration a distinctive odor wafted over my desk, like mustard gas over the trenches of World War I France. Mute evidence of the veracity of her claim. I only had time enough to wonder just what they were feeding her before the office was permeated and her dad came wisked her off to be changed.
New release @ Velvet boheme Collaboration with HighV !
Tiriel Tattoo
5 Layers, BOM Only, 5 Different variations.
======================================
Release date : Sept 1th - Sept 12th
Self-Portrait as Saint Catherine of Alexandria is a 1615–1617 painting by the Italian Baroque artist Artemisia Gentileschi, showing the artist in the guise of Catherine of Alexandria. It is now in the collection of the National Gallery, London, which purchased it in 2018 for £3.6 million, including about £2.7 million from its American Friends group.
It was painted during Gentileschi's time in Florence, and is similar to her Saint Catherine of Alexandria (c. 1619), now in the Uffizi Gallery. It is one of several paintings of female martyrs that Gentileschi made after her famous 1612 rape trial, in which she (unlike the accused) was subject to torture to test the veracity of her testimony.
The figure is shown in three-quarter view with a broken spiked wheel; according to tradition this was the instrument of torture to which Saint Catherine of Alexandria was subjected before being beheaded. The palm frond she holds in her other hand was also a traditional symbol of martyrdom. The crown she wears under the headscarf suggests her royal status, however along with the halo it is believed to have been added a later date. Current research on the contemporaneous works Artemisia created suggests that this piece began as a self-portrait and was later modified to depict the saint.
The original owner of Gentileschi's Self-Portrait as Saint Catherine is unknown, and nothing is recorded of its whereabouts until the early 1940s when the painting was bequeathed by Charles Marie Boudeville to his son.[6] The painting remained in the Boudeville private collection until it was sold at Hôtel Drouot in Paris on 19 December 2017 for €2.4m. The €1.9m hammer price was well above the original estimate of €300,000–€400,000.
It was acquired by London-based dealers Robilant+Voena, and surpassed the 2014 Gentileschi price record for her Mary Magdalene in Ecstasy. In July 2018, the National Gallery in London announced that it had purchased the painting from the dealers for £3.6 million. It is the first painting by a woman artist acquired by the National Gallery since 1991, when five paintings by Paula Rego were donated to the museum. On acquiring it, the National Gallery executed restoration on the painting.
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Veracity (Patch's mom) from afar: -...Girls? Are you doing your homework?
Patch: -Yes!
Pepper: -Yes Aunt Veracity. Don't worry we'll make sure to clean up when we are done and we'll set the table for dinner. Thank you so much for having me!
Patch: -She's not our teacher you know.
Pepper: -What do you mean?
Patch: -You is such a teacher's pet.
Pepper (sobbing): -Am not!
Patch: -Is too!
to be continued
On the north end of Aruba in many spots the surf hits with such veracity that one dares not try to swim deeply but it is enough to just stand and marvel at it.
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«Moments after his eye had fallen on the things that could confirm the veracity of his story, already they no longer existed." The man with hat
Alexander Lernet-Holenia
«pochi istanti dopo che il suo sguardo era caduto sulle cose che avrebbero potuto confermare la veridicità del suo racconto, già esse non esistevano più». L'uomo col cappello
Alexander Lernet-Holenia
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Veracity Afterthought in front of one of the beautiful towers of the Ice Castle in Telrunya's winter sim. We had so much fun shooting pics at this location I recommend it to anyone. So much magic to be found here, hats off to the designers.
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Baiastice @ Velvet Bohéme - 1st September 2025
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September 1st 2025 @ Velvet Bohéme
Portrait of Pope Innocent X is an oil on canvas portrait by the Spanish painter Diego Velázquez, executed during a trip to Italy around 1650. Many artists and art critics consider it the finest portrait ever created. It is housed in the Galleria Doria Pamphilj in Rome. A smaller version is held by the Metropolitan Museum of Art in New York, and a study is on display at Apsley House in London. The painting is noted for its realism as an unflinching portrait of a highly intelligent, shrewd, and aging man. He is dressed in linen vestments, and the quality of the work is evident in the rich reds of his upper clothing, head-dress, and the hanging curtains.
The pope, born Giovanni Battista Pamphilj, was initially wary of sitting for Velázquez, but relented after he was shown reproductions of portraits by the artist. A contributing factor for this large advancement in the painter's career was that he had already depicted a number of members of Pamphilj's inner court. The pope, however, remained cautious, and the painting was initially displayed only to his immediate family, and was largely lost from public view through the 17th and 18th centuries.
The portrait was painted during Velázquez's second voyage to Italy, between 1649 and 1651. The subject's vestments are of light linen, suggesting that the picture was probably painted during summer, most likely in 1650. Velázquez included his signature on the paper in the pope's hands, but the date is not readable. There are two versions of the story of how Velázquez came to paint the portrait. According to one of these, while visiting Rome, Velázquez, already a renowned painter, was granted an audience with Pope Innocent X. He offered to paint a portrait of the pope, but Innocent X mistrusted Velázquez's fame, and asked for proof of Veláquez's skills. It would have been then that Velázquez painted the portrait of his servant Juan de Pareja (today at display in the Metropolitan Museum of New York). Once Innocent saw that portrait, he agreed to sit for the artist.
Apparently, when the pope saw the finished portrait, he exclaimed: "È troppo vero! È troppo vero!" ("It's too true! It's too true!"), though he did not deny the extraordinary quality of the portrait.[4] Experts doubt the veracity of this story, and argue that the pope allowed Velázquez to paint him because he had already painted with great success other people from the inner papal court, including the pope's barber.
The portrait was kept at private display by Innocent's family, the Pamphilj, who would display it in the Doria Pamphilj Gallery where it remains to this day. For much of the 17th and 18th centuries, it was a relatively unknown work, familiar only to a few connoisseurs who regarded it to be one of the finest portraits ever. French historian Hippolyte Taine considered the portrait as "the masterpiece amongst all portraits" and said "once it has been seen, it is impossible to forget".
The art dealer René Gimpel noted in his diary in 1923 "Morgan would have offered a million dollars for it. Velázquez was faced with a ruddy Italian, and the artist, accustomed to the pale complexions of his country, unhesitatingly steeped his brush in red the color of wine and brought the bon vivant devastatingly to life.... That face is a whirlpool of flesh, and blood, and life; the eyes are searching.
The 20th century artist Francis Bacon painted a series of distorted variants, often known as the "Screaming Popes", which total more than forty-five known variants executed during the 1950s and early 1960s. The picture was described by Gilles Deleuze as an example of creative re-interpretation of the classical. Bacon avoided seeing the original, but the painting remained the single greatest influence on him; its presence can be seen in many of his best works from the late 1940s to the early 1960s. In Bacon's 1953 version Study after Velázquez's Portrait of Pope Innocent X, the pope is shown screaming yet his voice is "silenced" by the enclosing drapes and dark rich colors which have been said to create a grotesque and nightmarish tone. The pleated curtains of the backdrop are rendered transparent and appear to fall through the representation of the pope's face.
A reversed form of the portrait features on the cover of occult rock band Ghost's 2018 album Prequelle.
fr.youtube.com/watch?v=8XKa8VE7ILI
Voilà! In view, a humble vaudevillian veteran... Cast vicariously as both victim and villain by the vicissitudes of fate. This visage no mere veneer of vanity is a vestige of the vox populi now vacant, vanished. However, this valorous visitation of a by go vexetation stands vivified and has vowed to vanquish these venal and virulent vermin vanguarding vice and vouchsafing the violently vicious and voracious violations of volition. The only verdict is vengeance, a vendetta... Held as a votive not in vain, for the value and veracity of such... Shall one day vindicate the vigilant and the virtuous. Verily this vichyssoise of verbiage veers most verbose. So let me simply add that it’s my very good honor to meet you... And you may call me V.
"You can leave its integrity for almost anything, but that is all we have really everything that we have to end. And in this small space we are free" ... true!!!!
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and for french... listen words :p excellent!!!... fr.youtube.com/watch?v=tvbqI6XUqy8
"Voila ! À première vue, je ne suis qu’un vulgaire comédien de vaudeville, à qui les vicissitudes de la vie font jouer le vilain et la victime, et vice versa. Ce visage, n’est pas que le vil reflet de ma vanité, mais un vibrant vestige de la vox populi aujourd’hui vacillante et vaincue. Vous devez y voir les vieux restes d’une vexation vieillissante, aussi vive que vivante, et vouée à vaincre cette vermine vulgaire, vivace, virulente et vénale, qui vivote en privant ces valeureuses victimes vaincues de la vérité et des vraies valeurs. Le seul verdict que je vois est la vengeance. Une vendetta violente brandie telle un ex-voto et non en vain, visant à faire vaincre la vertu, face à cette vilenie lovée dans les veines de nos villes. Ces vagues vocales faisant de moi un ventriloque vociférant ces volutes verbales, revenons en a l’essentiel. Je suis très honoré de vous rencontrer et vous pouvez m’appeler V. "
"On peut abandonner son intégrité pour presque rien mais c’est tout ce que nous possédons réellement, tout ce qui nous reste à la fin. Et dans ce petit espace nous sommes libres. " <3
Powa Grrooooooooooooooooooaaaaaaaaaaaaaaaaaaaaar :))
The Eden Project, Cornwall.
"The Dionysian myths are amongst the oldest and most potent stories that link mankind with nature. Not only do they serve as an insight into ancient civilizations, but they also articulate truths of human nature that resonate with veracity to this day - beneath the veneer of everyday society lie dark and powerful forces of unpredictable magnitude, brutal passion and fragile mortality are present so frequently in situtuations of war and strife"
In this post I told the story about my last minute pilgrimage to Montana Rail Link on the cusp of its flag lowering: flic.kr/p/2nLhAy6
So continuing with the series featuring one photo of each train in chronological trip order here is the seventh train and our first one of Day 3. Our main goal for this day was train 844, the Logan Local. Normally on duty at 0800, during our trip it was pushed up to 0600 so they could get their yard and mainline work done in advance of some track gangs and then head off on the 5th Sub out of the way for most of the day. They travel out the 5th five days a week working customers along what was once the Northern Pacific's premier passenger route that used to cross Homestake Pass (and still does though it's been OOS since 1981) and drop down into Butte. Today this line is in service just over 50 miles as far as a stone quarry at Spire Rock on the east slope of the climb to Homestake.
In addition a couple of branch lines extend off this line including the out of service 45 mile long 7th Sub to Alder and the nearly 10 mile 6th Sub extending from Sappington to Harrison. The latter is still in use and is a true anachronism in a modern world. Serving only one customer, the branch sees service once a week at most via a line seemingly pulled straight out of the old west. Climbing a better than 2% grade along scenic Little Antelope Creek the line crosses multiple ancient wooden trestles and passes ghost towns along the high plains enroute to reach the tiny country elevator. I can't verify the veracity of this claim, but I've been told by railroaders that the only reason this anachronism survives is that the owner of the Harrison Elevator Co. is an old friend of MRL's owner, billionaire industrialist Dennis Washington. If true it would certainly help to explain the unexplainable!
This branch itself was originally built to Harrison by a Northern Pacific subsidiary in 1889 and extended a year later another 10 miles or so to Norris. Additionally at Harrison another branch forked 7 miles west to a small mining area at Pony. This branch was cut back by the NP during WWII and the outer 10 miles of the main stem to Norris succumbed under BN in 1975 leaving what was left to pass to MRL in 1987.
Today this little branch is considered by many railfans to be the 'holy grail' of photography on the railroad. We were told that Tuesday was the day they normally made the trip IF they had cars. And when we showed up at Logan around 8 AM to find them still working CHS we were overjoyed to see they had three empty MRL covered hoppers with them meaning a trip out the 6th was in the offing! After a great chase out the 5th Sub we headed down to the first accessible spot on the branch where the line crosses a dry wash that feeds Little Antelope Creek on this wooden trestle right at about MP 6.
Leading the three cars south (timetable west) are two classic EMD GP35s, MRL 403 and 401 blt. Dec 1964 as DRGW 3039 and Jan. 1964 as DTI 353 respectively.
As for the railroad, countless articles have been written about the MRL over the past 35 years of its existence and if you care to learn more download this great set of articles courtesy of Trains Magazine:
www.trains.com/wp-content/uploads/2022/05/TRN-MRL.pdf
Madison County, Montana
Tueaday September 6, 2022
** Bruxelles je t’aime, Bruxelles je t’aime
Tu m’avais manqué
T’es la plus belle, oui t’es la plus belle
Paris m’appelle quand je veux rentrer chez moi
Quand le ciel gris et la pluie me manquent
Je vais mieux quand j' te vois
Les villes sont belles mais moi je ne pense qu’à toi
Quand mon pays et ma ville me manquent
Moi je ne t’oublie pas
**
www.youtube.com/watch?v=a79iLjV-HKw
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The retouched and eroded hieroglyphs in the Temple of Seti I which are said to represent modern vehicles – a helicopter, a submarine, and a zeppelin or plane.
Some of the hieroglyphs carved over an arch on the site have been interpreted in esoteric and "ufological" circles as depicting modern technology.
The carvings are often thought to be a helicopter, a battle tank or submarine, and a fighter plane (some interpret this as a U.F.O.) However, these conjectures are largely based in pseudoarchaeology, and the picture often claimed as "evidence" has been retouched.
***
I've heard of Abydos for the first time for some time, through one of those sensationalist blogs with no credibility. The text said that in that temple, archaeologists had found new hieroglyphs when the plaster of a wall dropped and fell, revealing UFO-like aircraft drawings, including a figure that featured a helicopter. He would be known as the Abydos Helicopter. The most impressive thing about it was that it showed the photo of the hieroglyphs that really looked like flying machines. Was it fake or not?
The years passed and the veracity of the existence of these hieroglyphs always left me suspicious. If that were true, it could change the course of history. I realized that it was real when a theory came up trying to refute the interpretation of these hieroglyphics. In the explanation, this would be a "palimpsest"! Ah, now it's explained! Briefly explaining, a palimpsest is an overlap of hieroglyphs, it would be writing over, causing a false image.
When I first started planning the trip to Egypt, Abydos was one of the first places I marked on the map. And then finally came the day of seeing with my own eyes those mysterious figures on the walls of the temple. I will try to analyze here some details that are not normally seen on other blogs, books or TV shows and let each one reach its conclusion.
The first thing that is evident is that there is no trace of any plaster that has hidden the hieroglyphics. They are hieroglyphs written on the stone beam that serves as support for the slabs.
Observing the next hieroglyphs, whether on the left, on the right, or even on the opposite side of the flying machine figures, one clearly perceives that there was indeed the palimpsest practice in that temple, some even looking like scrawled drawings on top.
The theory of the palmypsestos of Abydos seems to prove by the example of the hieroglyphs around that controversial drawing. Once again archaeologists are able to end a myth using their academic theories. Will it be?
Something in the eyes of those less skeptical still prevents them from being convinced by these explanations. Even with the evidence that there really was palimpsest in the writings of Abydos, nothing explains the blatant "coincidences" of those specific figures. Why are flying machine-like figures concentrated (apart from the helicopter, are there 3 more ships in a row)? Why are they facing in the same direction (the inside of the temple)? Why are the overlapping of these specific scriptures not evident like the others?
These questions tend to remain. There are many coincidences in a temple that is one of the oldest places of worship in the world. And if that was the only mystery of this temple ... but it is not ... I would discover much more!
“I choose to live by choice, not by chance;
to make changes, not excuses;
to be motivated and not manipulated;
to be useful, not used.
I choose self-esteem, not self-pity;
to listen to my inner voice,
not the random opinions of others.
I choose to do the things that you won`t
so I can continue to do the things that you can`t."
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