A young girl embraces the heart-shaped trunk of a tree that has been cut down. She clings to it as if willing it to live, but all is not lost: A green shoot has begun to curl from the stump. In the world of the painting, Nevergiveup, which now adorns a building at bustling intersection in the heart of Santiago, Chile, and in reality, both are as tall as the buildings that surround them.
In a phone interview with Creators Project, Italian muralist Millo, a.k.a., Francesco Camillo Giorgino, says he chose to paint Nevergiveup because the building is so centrally located. “I knew there was a possibility that a lot of people would see it so I wanted it to carry a message,” he explains. That message, he says, is about caring for the natural world and changing our relationship with the environment. He believes the message is universal and can be understood by everyone, even city dwellers.
Crossing the veil between worlds…
A light bright
a loud cry in the night
makes way for a soul in the dark
gliding through time
a passage ethereal sublime
a story forgotten renewed
Mingling the past into the future
a haze blinding most
glamour hides a host
the spiritual warrior has eyes to see
but not until he falls to his knees
The figure in shadow feels the heart of the broken
crushing love not forgotten
karma eludes or so it seems
Circles and cycles
something at work
Antique Cast Iron Painted Lion & Unicorn
The Lion and the Unicorn are symbols of the United Kingdom. They are, properly speaking, heraldic supporters appearing in the full Royal coat of arms of the United Kingdom. The lion stands for England and the unicorn for Scotland. The combination therefore, dates back to the 1603 accession of James I of England who was already James VI of Scotland. By extension, they have also been used in the Coat of Arms of Canada since 1921.
The traditional legend of enmity between the two heraldic animals is recorded in a nursery rhyme which has a Roud Folk Song Index number of 20170. It is usually given with the lyrics:
The lion and the unicorn
Were fighting for the crown
The lion beat the unicorn
All around the town.
Some gave them white bread,
And some gave them brown;
Some gave them plum cake
and drummed them out of town.
The legend of the two animals may have been intensified by the Acts of Union 1707 and it was one year later that William King (1663–1712) recorded a verse very similar to the first stanza of the modern rhyme. This seems to have grown to include several other verses. Apart from those above only one survives:
And when he had beat him out,
He beat him in again;
He beat him three times over,
His power to maintain.
This rhyme was played upon by Lewis Carroll, who incorporated the lion and the unicorn as characters in Through the Looking-Glass. Here, the crown they are fighting for belongs to the White King, which, given that they are on the White side as well, makes their rivalry all the more absurd. Carroll subverts the traditional view of a lion being alert and calculating by making this particular one slow and rather stupid, although clearly the better fighter. The role of the Unicorn is likewise reversed by the fact that he sees Alice as a “monster”, though he promises to start believing in her if she will believe in him. Sir John Tenniel’s illustrations for the section caricature Benjamin Disraeli as the Unicorn, and William Ewart Gladstone as the Lion, alluding to the pair’s frequent parliamentary battles, although there is no evidence that this was Carroll’s intention.
Royal coat of arms of Scotland HERE
Two crowned and chained unicorns, the dexter supporting a banner of the arms, (only in this instance is the lion depicted facing away from the lance, whereas when flown correctly the lion should face towards or respect the lance or, in most cases, the flag pole); the sinister supporting the national flag of Scotland. The compartment features a number of thistles, the national flower of Scotland.
The unicorn was a gold coin that formed part of Scottish coinage between 1484 and 1525. It was initially issued in the reign of James III with a value of 18 shillings Scots, but rising gold prices during the reign of James V caused its value to increase first to 20 shillings, and then 22.[The obverse of the coin shows a crowned unicorn. The significance is that the unicorn is one of the heraldic symbols of Scotland, occurring most notably in the royal coat of arms of Scotland as crowned and chained supporters.
According to the British Museum, it became the coin favoured by Scottish kings when making gifts to foreigners, as in 1503 when James IV gave 100 unicorns to Lord Dacre, the English ambassador.
A half-unicorn (lower left in photo) was introduced with a value of 9 shillings during the reign of James IV. It also rose in value due to gold prices under James V, first to 10, and then 11 shillings.
The unicorn was replaced during the reign of James V with the gold crown, or Abbey crown, which had a value of 20 shillings.
Brian Rea produces drawings and paintings for magazines, murals, fashion and film projects around the world. His work has been exhibited in Paris, New York, Los Angeles, Mexico City and Barcelona at the Fundació Joan Miro. He is an Adjunct Associate Professor at Art Center College of Design and a member of Alliance Graphique Internationale. He lives in Los Angeles, California with his wife and his plants.
I bring fresh showers for the thirsting flowers,
From the seas and the streams;
I bear light shade for the leaves when laid
In their noonday dreams.
From my wings are shaken the dews that waken
The sweet buds every one,
When rocked to rest on their mother’s breast,
As she dances about the sun.
I wield the flail of the lashing hail,
And whiten the green plains under,
And then again I dissolve it in rain,
And laugh as I pass in thunder.
I sift the snow on the mountains below,
And their great pines groan aghast;
And all the night ’tis my pillow white,
While I sleep in the arms of the blast.
Sublime on the towers of my skiey bowers,
Lightning my pilot sits;
In a cavern under is fettered the thunder,
It struggles and howls at fits;
Over earth and ocean, with gentle motion,
This pilot is guiding me,
Lured by the love of the genii that move
In the depths of the purple sea;
Over the rills, and the crags, and the hills,
Over the lakes and the plains,
Wherever he dream, under mountain or stream,
The Spirit he loves remains;
And I all the while bask in Heaven’s blue smile,
Whilst he is dissolving in rains.
The sanguine Sunrise, with his meteor eyes,
And his burning plumes outspread,
Leaps on the back of my sailing rack,
When the morning star shines dead;
As on the jag of a mountain crag,
Which an earthquake rocks and swings,
An eagle alit one moment may sit
In the light of its golden wings.
And when Sunset may breathe, from the lit sea beneath,
Its ardours of rest and of love,
And the crimson pall of eve may fall
From the depth of Heaven above,
With wings folded I rest, on mine aëry nest,
As still as a brooding dove.
That orbèd maiden with white fire laden,
Whom mortals call the Moon,
Glides glimmering o’er my fleece-like floor,
By the midnight breezes strewn;
And wherever the beat of her unseen feet,
Which only the angels hear,
May have broken the woof of my tent’s thin roof,
The stars peep behind her and peer;
And I laugh to see them whirl and flee,
Like a swarm of golden bees,
When I widen the rent in my wind-built tent,
Till calm the rivers, lakes, and seas,
Like strips of the sky fallen through me on high,
Are each paved with the moon and these.
I bind the Sun’s throne with a burning zone,
And the Moon’s with a girdle of pearl;
The volcanoes are dim, and the stars reel and swim,
When the whirlwinds my banner unfurl.
From cape to cape, with a bridge-like shape,
Over a torrent sea,
Sunbeam-proof, I hang like a roof,
The mountains its columns be.
The triumphal arch through which I march
With hurricane, fire, and snow,
When the Powers of the air are chained to my chair,
Is the million-coloured bow;
The sphere-fire above its soft colours wove,
While the moist Earth was laughing below.
I am the daughter of Earth and Water,
And the nursling of the Sky;
I pass through the pores of the ocean and shores;
I change, but I cannot die.
For after the rain when with never a stain
The pavilion of Heaven is bare,
And the winds and sunbeams with their convex gleams
Build up the blue dome of air,
I silently laugh at my own cenotaph,
And out of the caverns of rain,
Like a child from the womb, like a ghost from the tomb,
I arise and unbuild it again.
Unwoven Light at Rice University’s Rice Gallery in Houston, Texas. Composed of 37 individual sculptural units, the installation uses iridescent plexiglass embedded in pieces of a chain link fence to cast shimmering, colorful reflections across the spacious gallery. Photo’s via Walley Films Flickr Photostream.
The Irish Cob or Coloured Cob, known as the Gypsy Horse or Gypsy Vanner in the United States, is a type or breed of domestic horse from the British Isles. It a small, solidly built horse of cob conformation and is often, but not always, piebald or skewbald. It is the only broken-coloured horse breed of the British Isles and is particularly associated with the Pavee and Roma travelling peoples of Britain and Ireland. There was no studbook or breed association for horses of this type until 1996. Other names for this breed include Gypsy Cob and Tinker Horse. The Drum Horse is similar in appearance but larger.
From about 1850 travelling people in the British Isles began to use a distinct type of horse to pull their vardos, the caravans in which they had just begun to live and travel. The colour and look of the breed were refined in the years after the Second World War. Horses of this type were first exported to the United States in 1996.
There are many breed societies for the Gypsy horse, with mostly, minor variations in their respective breed standards. The range of desired heights is generally from 13 to 16 hands (52 to 64 inches, 132 to 163 cm) in the United States and Australasia, but in Ireland and continental Europe, the desired height limit goes up to 16.2 hands (66 inches, 168 cm) for some types and they permit both lighter-boned as well as larger horses than typically desired by the American organisations.
Gypsy Wagon by Binkski
The Gypsy Horse was bred by the Roma of Great Britain to pull the vardos in which they lived and travelled. The Roma had arrived in the British Isles by 1500 AD, but they did not begin to live in vardoes until around 1850. Prior to that, they travelled in tilted carts or afoot and slept either under or in these carts or in small tents. The peak usage of the Gypsy caravan occurred in the latter part of the 19th century and the first two decades of the 20th.