I just recently started following you so i don't have the full lore of your murderous gay religiously traumatized doggos, BUT, from my understanding, they are Italian and i don't know what part of Italy they are from, yet i can't help headcanoning Vasco as Tuscan, while Machete is probably from some part of Veneto. And as an Italian who has heard Tuscans and Veneto dialet, well it's an hilarious mental image.
Vasco is indeed Tuscan, Florentine to be specific. He comes from a wealthy and influential noble family that has lived in Florence for centuries. He's proud of his roots, and it's usually easy for strangers to tell where he's from. He's a resonably successful politician and has worked as an ambassador and representative of Florence on numerous occasions.
Machete is originally Sicilian (ironically about as far from Veneto as possible), although he was taken to mainland at young age and has lived in several places since then, before ending up in Rome. The way I see it, he exhibits very little local color, his demeanor and (even though Italian hadn't become a standardized language yet) way of speaking are formal, neutral and scarcely give away any hints about his personal history, at least in the 16th century canon.
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The Flower Basket, Frida Kahlo, 1941
Oil on copper
31 ⅜ in. (80 cm) in diameter
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The words cherries, peas, skates, and assets used to be singular forms. However, they were reanalysed as plurals because they sounded like plurals. New singulars were created by removing the -s. This linguistic phenomenon is called back-formation. Here's how it went.
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Diagramming Modernity: Books and Graphic Design in Latin America, 1920–1940
This massive publication offers the first comprehensive panorama of the Latin American illustrated book between the 1920s and 1940s, a period characterized by the region's rapid modernization. The books reproduced here encapsulate this transformative era, expressing and embodying emergent national and continental narratives in Latin American countries.
Diagramming Modernity reproduces more than 1,000 illustrated first editions, analyzing the cornucopia of cultural narratives they contain. In addition to showcasing relatively unknown work by many consecrated artists, the publication also boasts an extensive repertoire of avant-garde artists largely forgotten until today.
Chapters are devoted to countries and to specific themes such as Word-Image, Verbal Visualities, Pre-Columbianisms and Ancestralisms, and Social and Political Graphics.
Writers and thinkers Rodrigo Gutiérrez Viñuales, Riccardo Boglione, Juan Manuel Bonet, Mariana Garone Gravier and Dafne Cruz Porchini conscientiously investigate these themes and more.
Edited by Rodrigo Gutiérrez Viñuales and Riccardo Boglione
With texts by Juan Manuel Bonet, Rodrigo Gutiérrez Viñuales, Riccardo Boglione, Marina Garone Gravier, and Dafne Cruz Porchini
Designed by José Luis Lugo
Published by Editoriale RM and Ediciones La Bahía, 2023
Hardcover, 876 pages, 1500 color images, 9 × 12.25 inches
ISBN: 978-8-41-797579-1
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Manuel Carbonell
Pygmalion and Galatea, 1963
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Cândido Portinari (Brazilian, 1903-1962) • Colheita de Café (Coffee Harvest) • 1951
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I am so sorry to trouble you with obvious BS, but a friend found these pendants while metal detecting and was hoping someone would be able to translate the one on the left. Would you know where I could go? The cartouche beginning with a big bust of (Maat? Isis??) is throwing me…
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Oh that's not total bullshit, the one on the right is supposed to be the Rosetta Stone and the one on the left is a rather wonky version of the cartouche of Cleopatra VII Philopator (aka the Cleopatra). And by wonky I mean "they left off the initial K in favour of fitting in her bust so now it just reads Leopatra". (And made some other weird positional choices but like. Leopatra. That's objectively hilarious.)
Here's the same cartouche rendered horizontally, from the temple of Edfu:
Read from right to left in this case; the sign directly above the lion is the one they left off!
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