Quotes about pendant

A collection of quotes on the topic of pendant, likeness, evening.

Quotes about pendant

“As for my next book, I won't write it till it has grown heavy in my mind like a ripe pear; pendant, gravid, asking to be cut or it will fall.”

Virginia Woolf (1882–1941) English writer

Books

“Today, I seem to have developed a new, clear and sharper vision of my life and it's
events that were never evident to me pendant the moments that I was experiencing them as they occurred in my microcosmic world, where I was, "The Bubble Boy".
I felt that I had to clear myself of toxins which were spewed onto my entire existence through an insidious series of betrayals.
I have changed and evolved so much in my lifetime(s) and continue to everyday…every moment.
I have worked on MYSELF.
I have healed myself.
I have gotten to know who I am and know very clearly and sans doubt what a prodigious, rare and special catch I am for the correct person who will actually see and KNOW how fortunate they are to be with Me!
And I they…….. of course.
I am not nor never have I been an ordinary person in any shape or form……. I am black and white………. I possess a vast array of remarkable, innate and perfectly educated qualities which span from one end of the spectrum to the other.
I have lived the most extraordinary, privileged and charmed life. However I have experienced intense loss, pain and sorrow as well…most people are fortunate enough not to ever even be capable of fathoming such extremes."”

Stephie Pahlavi Zan

Personality, Boy, Life, Pain

“What evil is there in seeing a man possess a woman? Why, the beasts would be more free than we! It seems to me that that which is given us by nature for our own preservation ought to be worn round the neck as a pendant and in the hat for a medal.”

Pietro Aretino (1492–1556) Italian author, playwright, poet, satirist, and blackmailer

Edward Hutton (1922) Pietro Aretino, the scourge of princes. p. 65

Nature, Evil

“Among the thirteenth-century windows the Western Rose alone seems to affect a rivalry in brilliance with the lancets, and carries it so far that the separate medallions and pictures are quite lost,— especially in direct sunshine,— blending in a confused effect of opals, in a delirium of color and light, with a result like a cluster of stones in jewelry. Assuming as one must, in want of the artist's instruction, that he knew what he wanted to do, and did it, one must take for granted that he treated the Rose as a whole, and aimed at giving it harmony with the three precious windows beneath. The effect is that of a single large ornament; a round breastpin, or what is now called a sun-burst, of jewels, with three large pendants beneath.”

Henry Adams (1838–1918) journalist, historian, academic, novelist

Mont Saint Michel and Chartres (1904)

Color, Light, Sun

“No wonder the lookout was amazed. There were deozens of them, some moored in pairs, others, possibly gun-brigs or bombs, anchored separately, a veritable armada of small ships […. ] and there they were, like a phalanx of Roman soldiers on the march, six lines of small vessels under sail. In the bright glare even the pendants and ensigns looked stiff, like lances.”

Douglas Reeman (1924–2017) British author

A Tradition of Victory, Cap 7 "The Secret"

“There she was, Beer's Unity, with almost every sail set and filled so that she appeared to be leaning forward into the surging spray beneath her beakhead. The huge broad-pendant straight out like painted metal, a picture of naval strength at its best.”

Douglas Reeman (1924–2017) British author

For My Country's Freedom, Cap 17 "And For What?"

Beer, Appearance, Painting

“The Nefertiti bust is one of the most popular art works in the world. It is printed on scarves and molded in necklace pendants and coffee-table miniatures. But never in my experience is the bust exactly reproduced. The copyist softens it, feminizes it and humanizes it. The actual bust is intolerably severe. It is too uncanny an object for domestic display. Even art books lie. The bust is usually posed in profile or at an angle, so that the missing left pupil is hidden or shadowed. What happened to the eye?”

Camille Paglia (1947) American writer

Source: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 67

Lie, Books, World, Art

“.. [both of us (Schelfhout ànd J. C. Schotel)] make each a painting that together will form one view, as it were [view of Scheveningen by Schotel / view of The Hague by Schelfhout].... [but] our paintings together will therefore not become one integrated thing, but only pendants... I have taken my drawing from the steps of the Pavilion [in Scheveningen], viewed over the dunes to [the city] The Hague. In the foreground, which is very bare and empty in reality, I have placed some trees.”

Andreas Schelfhout (1787–1870) Dutch painter, etcher and lithographer

translation from original Dutch: Fons Heijnsbroek
(original Dutch, citaat van Schelfhout, uit zijn brief:) ..[dat wij beiden, (Schelfhout èn J.C. Schotel )] elk een schilderij te maaken het welk bijde als het ware één gezigt zoude uitmaken [uitzicht van Scheveningen door Schotel, èn uitzicht op het centrum van Den Haag door Schelfhout].. ..[maar] onze schilderijen zullen dus te zamen geen geheel uitmaken, maar slechts pandanten zijn.. .Ik heb de teekening genomen van het bordes of trap van het pavilloen [in Scheveningen] over de duinen naar Den Haag gezien. Op de voorgrond, die in de natuur zeer kaal en ledig is heb ik eenige bomen geplaatst..
In a letter to J.C. Schotel, 18 Nov. 1828; in: collective Stadsarchief van ErfgoedCentrum DIEP, Dordtrecht, No. 48-d
Schelfhout was referring to the assignment from the Dutch King Willem I for two paintings: one view over the old center of The Hague & one view over the beach of Scheveningen.

Reality, Tree, Drawing, Painting

“The moon, full-orbed, forsakes her watery cave,
And lifts her lovely head above the wave;
The snowy splendours of her modest ray
Stream o'er the glistening waves, and quivering play;
Around her, glittering on the heaven's arched brow,
Unnumbered stars, enclosed in azure, glow,
Thick as the dew-drops of the April dawn,
Or May-flowers crowding o'er the daisy lawn;
The canvas whitens in the silvery beam,
And with a mild pale-red the pendants gleam;
The masts' tall shadows tremble o'er the deep;
The peaceful winds a holy silence keep;
The watchman's carol, echoed from the prows,
Alone, at times, awakes the still repose.”

William Julius Mickle (1734–1788) British writer

Book I, lines 417–430 (pp. 23–24)
The Lusiad; Or, The Discovery of India: an Epic Poem (1776)

Love, Peace, Star, Flowers