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#hEY

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This is the Duke of Wellington looking at the effigy of Napoleon Bonaparte at Madame Tussaud’s around 1851 when the Great Exhibition opened.

 Wellington was apparently a fan of wax sculptures and seemed to be a personal friend of Madame Tussaud herself. He often visited the new additions. One of exhibits of the Museum (which in Wellington’s lifetime was still located at the Baker Street Bazaar) was dedicated to Napoleon Bonaparte. Apart from Napoleon’s own wax figure, the exhibit also contained:  

Napoleon Relics. — The camp-bedstead on which Napoleon died; the counterpane stained with his blood. Cloak worn at Marengo. Three eagles taken at Waterloo. Cradle of the King of Rome. Bronze posthumous cast of Napoleon, and hat worn by him. Whole-length portrait of the Emperor, from Fontainebleau; Marie Louis and Josephine, and other portraits of the Bonaparte family. Bust of Napoleon, by Canon. Isabey’s portrait Table of the Marshals. Napoleon’s three carriages: two from Waterloo, and a landau from St. Helena. His garden chair and drawing-room chair. “The flag of Elba.“ Napoleon’s sword, diamond, tooth-brush, and table-knife; dessert knife, fork, and spoons; coffee-cup; a piece of willow-tree from St. Helena; shoe-sock and handkerchiefs, shirt, &c. Model figure of Napoleon in the clothes he wore at Longwood; and porcelain dessert-service used by him. Napoleon’s hair and tooth, etc. (from the book the Curiosities of London)

A book called The History Of Madame Tussaud’s give us an account of Wellington’s visits to the museum and his special fondness for Napoleon’s exhibition:

Early one morning, soon after the Exhibition had been opened for the day, Joseph, Madame Tussaud’s son, who had been wandering through the rooms, as was his habit, perceived an elderly gentleman in front of the tableau representing the lying-in-state of Napoleon I. The model of the dead exile rested—as it does down to this very day—on the camp bedstead used by Napoleon at St. Helena, and was dressed in the favourite green uniform, the cloak worn at Marengo (bequeathed by Napoleon to his son) lying across the feet. In the hands, crossed upon the chest, was a crucifix. In those days it was the custom to lower at night the curtains that enclosed the bed, in order to exclude the dust, whereas now the whole scene is encased in glass.

Observing that the visitor was desirous of seeing the effigy, and no attendant being at hand, Joseph Tussaud raised the hangings, whereupon the visitor removed his hat, and, to his great surprise, Joseph saw that he was face to face with none other than the great Duke of Wellington himself.

There stood his Grace, contemplating with feelings of mixed emotions the strange and suggestive scene before him. On the camp bed lay the mere presentment of the man who, seven-and-thirty years before, had given him so much trouble to subdue. No feeling of triumph passed through the conqueror’s mind as he looked upon the poor waxen image, too true in its aspect of death; he rather thought upon the vanity of earthly triumphs, of the levelling hand of time, and how soon he, like his great contemporary, might be stretched upon his own bier.

Mr. Joseph Tussaud used frequently to recall this dramatic meeting between the Iron Duke and the effigy of his erstwhile foe, and to imagine the feelings of the old General as he gazed upon the couch. It was probably the first of the Duke’s many visits to the Exhibition.

A few days after this most interesting visit Mr. Tussaud, who was an old friend of Sir George Hayter, related the incident to that artist. Hayter was immediately struck with the potential value of the event for the production of a painting of the historic scene, and the Tussaud brothers at once commissioned him to execute the work for them. Sir George thereupon communicated the idea to the Duke, who readily responded, and offered to give the necessary sittings. We have the sketches made by Hayter in preparation for the work, and among them appears a drawing of Joseph Tussaud himself, although he does not enter the actual picture. Hearing that the artist was making progress with the painting, the Duke visited his studio, and, having expressed himself warmly in appreciation of the picture (the figures had been but lightly limned in at the time), said: “Well, I suppose you’ll want me to sit for my picture here?”

Hayter has given us a most characteristic portrait of Wellington as he then appeared. He is dressed in his usual blue frock-coat, white trousers, and white cravat, fastened with the familiar steel buckle. He stoops a little as was his wont, his head is lightly covered with snow-white hair, and his manly features are marked with an expression of mingled curiosity and sadness as, hat in hand, he looks upon the recumbent Napoleon. The picture was completed early in December, 1852, [after the Duke’s death] and has been on view in the Napoleon Rooms at the Exhibition ever since.

The engravings of the picture have been circulated in thousands throughout the world, and, strange to say, they are exceedingly popular in Austria. It is an interesting fact that the painting in question was the last portrait for which the Duke ever sat. When the Duke himself died, Madame Tussaud’s advertised “A full length model of the Great Duke, taken from Life during his frequent visits to the Napoleon Relics.“

#history #napoleon #wellington #duke of wellington #napoleon bonaparte #👀

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-The sunset on sea-

#ivan aivazovsky #cue the queue #beautiful things #art reblogs

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Derek Penix, Peaches, Oil

#derek penix #peaches #art reblogs #beautiful things #cue the queue

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more gif inspired kitty hugs 💌

#cue the queue #beautiful things #art reblogs #artist rat

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"...while these [corporate re-education] programs have shown evidence of marginal positive effects (Meredithe et al.) and continue to be employed (Kine-Veck), they ultimately run into the same limitations as A.I. on interstellar hauls infallibly loyal to those possessing their security codes. That is, once outside effective communication distance companies cannot rely on any positive reinforcement. For this reason, it has been suggested that re-education instead focus on loyalty to the rest of the crew, rather than loyalty to the company." - A Proposal for Use of Romantic/Sexual Re-education on Interstellar Haul Crews, Delivered to the Board of VeckQwenZemco on New Armstrong, Mars, 2998 CE. *** The divorce come down and turn around was brutal. One moment your brain and biochemistry and hormones, all carefully wired by the re-education modules, make you fully believe that you have long been in a deep, committed, passionate relationship with the six to eight other people on the haul. You look at them and even though you know you'll only spend a few weeks of subjective time with them, maybe a month or two on a longer job, only a brief window out of cryo and not lagged by relativity, even though you know what you gave the company your written consent to do, your brain still loves them. Then you pull into orbit over Eridiani, or Luna, or wherever, you probably bang one last time, say your tearful goodbyes, and spend the next few weeks crying like you just lost the love of your life as the chemicals wash out and the deprogramming modules hit. The moment is over. But time spent on a company station meant time wracking up debt for oxygen, water, food. So, still on the come down, Reade looked for a course, signed the wavers, gave her consent, grabbed the meager belongings that had gotten her through seven of these hauls, now dating from over forty years ago given the time lost to cryo and near-light travel. File down to concourse-E. Begin again. "Here for the haul?" the skinny low-g kid of her in the line said. "Um, VeckGreenQwenZemco 3043-28897?" Reade sized them up. New kid. First haul. She could smell it on them. In a few hours she'd probably love them and have her brain inventing all sorts of bullshit justifications for the neurochemical feelings the company would induce in her in order to improve team cohesion and morale trillions of miles away from anyone else. In a few hours she'd love them for their optimism, their smile, their cheery attitude and all the questions. But not yet. Right now, still awash in the last break up, Reade savored the simple joy of being a miserable bitch. "Kid," she said, with a malicious grin, "you're gonna love me in a bit. But you're still gonna remember this so I want you to get a good earful of it before the re-education. I'm fucking hate you and hate that I have to do this and if I could I'd throw you out a fucking airlock." She pulled her headphones on and cranked the volume. It hurt, in her chest, and the least she could do was make someone else hurt with her. That freedom, at least, she had for a few more minutes.

#this is even more depressing than the expanse #well done

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ALT

#someone be taking pictures of you on the sly #<—prev #yea no kidding 🤭 #love that mug resting on a watermelon in the back

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camille.andre.art

#cue the queue #beautiful things #art reblogs

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dogs on the window.

#cue the queue #cue the cuteness queue #cue the fluffy queue #puppies!!! #tagged for firo

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Charles Van den Eycken - The feather (1910)

#cue the queue #cue the cuteness queue #cue the fluffy queue #beautiful things #art reblogs #kitty!!! #charles van den eycken

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Hello QuiObi fans!

This year, The Phantom Menace turns 25, and will be commemorated by the Party Like It's 1999 event: a long-standing fan-run tradition that marks these anniversaries.

We decided not to hold our May the Fourth Exchange this year so that interested creators can devote all of their efforts to Party Like It's 1999. If you are unfamiliar with this well-loved event, please visit @quiobi-lover's post here, and check out the masterlists from past years.

#quiobi #quiobi may the fourth

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hydrangea flower lantern by 猪猪小手工

#cue the queue #beautiful things #hydrangea lantern

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࿇ Iris flowers ࿇

#iris #cue the queue #beautiful things #love irises

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#pride and prejudice #pride snd prejudice 1995

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do you ever find yourself bedeviled by writing ideas that are the equivalent of finding a single carrot in your fridge. your brain goes "we should write a pirate story" or "we should write a parisian thief caper" and you ask, "all right, what do we cook with that, then?" and it says "no other ingredients (:"

#bitch behavior

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watch this. this is literally what love is.

#tagged for firo #👀 #cary grant #irene dunne

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I refuse to reblog callout posts because I'm a prison abolitionist

#really gets at the root of it tbh. #i don't know fuckall about the topic #so it's kermit_tea.gif to me #[but that's none of my business]