indypendenthistory:

The art assembly line of female students busily engaged in copying World War II propaganda posters in Port Washington, New York, on July 8, 1942. The master poster is hanging in the background. (AP Photo/Marty Zimmerman) (via World War II: Women at War - In Focus - The Atlantic)

books0977:

The Morning Paper (1890). James Guthrie (Scotland, 1859-1930). Pastel on paper. Fine Art Society, London.

In the mid-1880s, Guthrie entered a critical phase, turning to portraits, interiors and genre work. The Morning Paper is one of the finest of his many portraits of middle-class women. Guthrie’s pastel technique here and elsewhere seemed to him (as it did to Degas) the aptest means of expression, since it was quick and easy to use and thus ideally suited to recording impressions on the spot.

books0977:

Model Frida Gustavsson (Swedish, 1993-) reading Oscar Wilde’s The Picture of Dorian Gray.

Discovered at 14 years old in an H&M where she was shopping with another student, she immediately found herself overbooked. “The day after my 15th birthday, I went to Japan for work during the whole summer…”

books0977:

An Interesting Story. William Stephen Coleman (English, 1829-1904). Watercolour heightened with white bodycolour.

Coleman was a keen naturalist painting for the Illustrated News and the London Almanac. Until 1881 he was on the committee of the Dudley Gallery and he also designed tiles for Minton.

The Jewish Psalter became the first hymn-book of the Church, and still remains the backbone of its ordered daily worship: the reading and expounding of the Old Testament, stressing the historical character of the Christian revelation, as from the beginning a vital part of the ministry of the Word. Thus Christian worship, though from one point of view it was indeed a “new song”, from another accepts and completes the devotion of the synagogue, and shows forth in its fullness the spiritual mystery towards which the sacrifices of the Temple looked. Here as elsewhere the revelation of God, breaking in upon history, accepts and clothes itself in historical forms

ephremhiphop:

Beards! Yes, Science is on the side of the Beard! Read Article Here. Here’s a few words from the article.

Gentlemen, they’re not just for hipsters and the homeless any more. While both dead sexy and totally awesome, beards are also a boon to your overall health. Researchers discovered that men with beards and moustaches actually enjoy numerous benefits including, but not limited to, instant handsomeness.

A study from the University of Southern Queensland, published in the Radiation Protection Dosimetry journal, found that beards block 90 to 95 percent of UV rays, thereby slowing the aging process and reducing the risk of skin cancer. Got asthma? Pollens and dust simply get stuck in that lustrous facial hair. Additionally, all that hair retains moisture and protects against the wind, keeping you looking young and fresh-faced. What’s more, shaving is usually the cause of ingrown hairs and bacterial infections that lead to acne.

Have you tossed your razor in the trash yet?

friarfriendship:

signorcasaubon:

Giovanni di Paolo - Saint Nicholas of Tolentino Saving a Shipwreck; Philadelphia Museum of Art, Pennsylvania, USA; 1457

Saint Nicholas of Tolentino’s aid is popularly invoked to ease the pain of the souls in Purgatory.

St. Nicholas of Tolentino is an Augustinian, and our first canonized saint!

biblicalsubtraction:

Something of a much belated Ash Wednesday Poem. 

necspenecmetu:

Giovanni Camillo Sagrestani, Saint Augustine Writes on the Heart of Saint Mary Magdalene of Pazzi, 1702

Any reader of the Confessions will be aware that, for Augustine, the reading of the Psalms was more than simply a “devotional” reading of a holy text, let alone reading to inform or instruct. The psalmist’s voice is what releases two fundamentally significant things for the Augustinian believer. It unseals deep places, emotions otherwise buried, and it provides an analogy for the unity or intelligibility of a human life lived in faith. Here is a conversation with God that has a beginning, a middle, and an end. And in the course of that conversation, the human speaker is radically changed and enabled to express what is otherwise hidden from him or her. Augustine speaks of what the psalm he is discussing (Psalm 4, Cum invocarem) “makes of him”: the act of recitation becomes an opening to the transforming action of grace (Conf. 9.4.8).