Time.com: How 1960s Fashion Trends Reflected the Decade’s History


Tigger button badg

The birthday selections for author A.A.Milne’s Birthday include wonderful works that delight with their simple sincerity and gentle lines… https://www.vam.ac.uk/shop/tigger-button-badge.html

Vintage Nautical World Map – Save Our Oceans

Lovely addition to your living space in deep sands and ochre showing the nautical highlights all around the world…


Calendars Almanacs 2018 Choice and highlights


The Old Farmer’s Frontispiece

“With the exception of the first edition in 1793, The Old Farmer’s Almanac has had a frontispiece illustration on the title page every year. Read on to learn how the frontispiece came to be and the meaning behind its intricate design.”

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Sun and Moon: Stunning Illustrations of Celestial Myths

From Maria Popova’s Weekly insights…

Ancient allegorical reflections on the universal themes of life, love, time, harmony, and our eternal search for a completeness of being.


sunandmoon_tara.jpg“The dark body of the Moon gradually steals its silent way across the brilliant Sun,”Mabel Loomis Todd wrote in her poetic nineteenth-century masterpiece on the surreal splendor of a total solar eclipse. Nearly a century earlier, in his taxonomy of the three layers of reality, John Keats listed among “things real” the “existences of Sun Moon & Stars and passages of Shakespeare.” Indeed, the motions of the heavenly bodies precipitated the Scientific Revolution that strengthened humanity’s grasp of reality by dethroning us from the center of the universe. But, paradoxically, the Sun and the Moon belong equally with the world of Shakespeare, with humanity’s most enduring storytelling — they are central to our earliest sky myths in nearly every folkloric tradition, radiating timeless stories and parables that give shape to the human experience through imaginative allegory.

In Sun and Moon (public library), ten Indian folk and tribal artists bring to life the solar and lunar myths of their indigenous traditions in stunningly illustrated stories reflecting on the universal themes of life, love, time, harmony, and our eternal search for a completeness of being.

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Mindfulness and Shopping positively!

The team have created various colouring sheets and this one is our favourite so far for your colouring pleasure and a sense of joy- ‘Three Bags Full of Surprises’ by Andrea to enjoy filling with your favourite colours… download from the page at WildRare #mindfullness #andreamidas #coloring #marbellagourmet #wildrare

Welcome to Paris! Visit the French capital in the 18th Century

A few months ago, a team from the University of Lyon-2, France, made an audio reconstruction of Paris in the 18th century. Though captivating, the video (news.cnrs.fr/articles/sound-18th-century-paris) lacks an essential part: people. Fortunately, a famous book renders the customs and lifestyle of the Parisians of the time. Let’s take a walk in the dirty, insane and yet fascinating streets of the French capital on the edge of the Revolution. Your guide? The second edition of Mercier’s Tableau de Paris (Amsterdam, 1782).

Louis-Sébastien Mercier (1740-1814) was a prolific writer and philosopher, who signed dozens of plays as well as hundreds of articles about Paris that were published in various “gazettes” (or newspapers). In 1780, eleven years after his famous L’An 2440, he compiled dozens of them in what was to become his most famous work, Tableau de Paris. The first edition (Neuchâtel, 1780) came out as a 2-volume set and though Mercier refused to give into satire, several of his criticisms displeased the government, forcing him to settle in Switzerland for a while. There, he augmented and corrected his work and published a second edition in 1782. “I’ve written no catalog or inventory,” he underlines. “I only mean to paint, not to judge.” His work, a playful reading, gives an invaluable description of a city that Voltaire—whom Mercier despised—once described as a “chaos of wonders“; and indeed, Paris appears in Mercier’s writing like a maze of horrors, beauties and bizarreries. “Just like in a painting of Rembrandt, darkness prevails in my painting,” he says. “It is not my fault, but the subject’s.” In the following “visit”, facts are all taken from Mercier’s book. Take it as a written reconstruction.

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