the sheet I write

when falling / asleep


TWS

 

cicatrice di catrame

croce capovolta in nero su sfondo rotto

TWS

 

Punk Cult Inception

 two years ago...

John Cusack as Joe Strummer as Johnny Rotten 

TWS ft Starryai

Hanging Together, Together Forever

Un per due

TWS & AI

un cappio al giorno toglie il boia di torno

una croce al giorno toglie l'appeso di torno

TWS

thanks for the noosafix & the noosefixion! 

Ossa in croce

Scheletro crocifisso a τ 
TWS

(lo scheletro iniziale viene da Adobe Stock - Thx)

Fede fai-da-te

DIY Cross

TWS

La crocifissione secondo Mason Verger

"Un'altra anomalia è che la figura è infissa alla croce con chiodi che passano attraverso i polsi, invece che attraverso le palme delle mani."

"È così che bisogna fare" intervenne Mason. "Bisogna inchiodarli ai polsi e usare grossi dadi di legno per fissare i chiodi, altrimenti i tessuti si smollano e il corpo comincia a ondeggiare. Io e Idi Amin l'abbiamo scoperto per via diretta, quando una Pasqua, in Uganda, abbiamo rimesso in scena l'intera faccenda. Il nostro Salvatore, in realtà, era inchiodato ai polsi. Tutti i dipinti con la Crocifissione sono sbagliati. È a causa di un errore di traduzione fra la Bibbia in ebraico e quella in latino."

Thomas Harris, Hannibal

Mondadori, Milano 1999, 

pp. 258-259

TWS

apparato liturgico

clergyman etc. from The Priest movie (1994)

TWS

(grazie a mr Coco per il film)

Excel on cross

"Una lampada a immagini rotanti? ... è troppo tardi. Ormai è andata." :
Uno dei flashback di Excel mentre si avvia verso la morte
(da Excel Saga s01e01)
TWS

The daily, awful sacrifice

It was rumoured of him once that he was about to join the Roman Catholic communion; and certainly the Roman ritual had always a great attraction for him. The daily sacrifice, more awful really than all the sacrifices of the antique world, stirred him as much by its superb rejection of the evidence of the sense as by the primitive simplicity of its elements and the eternal pathos of the human tragedy that it sought to symbolize. He loved to kneel down on the cold marble pavement, and watch the priest, in his stiff flowered dalmatic, slowly and with white hands moving aside the veil of the tabernacle, or raising aloft the jewelled latern-shaped monstrance with that pallid wafer that at times, one would fain think, is indeed the panis cælestis, the bread of angels, or, robed in the garments of the Passion of Christ, breaking the Host into the chalice, and smiting his breast for his sins. The fuming censers, that the grave boys, in their lace and scarlet, tossed into the air like great gilt flowers, had their subtle fascination for him. As he passed out, he used to look with wonder at the black confessionals, and long to sit in the dim shadow of one of them and listen to men and women whispering through the worn grating the true story of their lives.

pp. 153-154

He had a special passion, also, for ecclesiastical vestments, as indeed he had for everything connected with the service of the Church. In the long cedar chests that lined the west gallery of his house he had stored away many rare and beautiful specimens of what is really the raiment of the Bride of Christ, who must wear purple and jewels and fine linen that she may hide the pallid macerated body that is worn by the suffering that she seeks for, and wounded by self-inflicted pain. He possesed a gorgeous cope of crimson silk and gold-thread damask, figured with a repeating pattern of golden pomegranates set in six-petalled formal blossoms, beyond which on either side was the pine-apple device wrought in seed-pearls. The orphreys were divided into panels representing scenes from the life of the Virgin, and the coronation of the Virgin was figured in coloured silks upon the hood. This was Italian work of the fifteenth century. Another cope was of green velvet, embroidered with heart-shaped groups of acanthus leaves, from which spread long-stemmed white blossoms, the details of which were picked out with silver thread and coloured crystals. The morse bore a seraph's head in gold-thread raised work. The orphreys were woven in a diaper of red and gold silk, and were starred with medallions of many saints and martyrs, among whom was St. Sebastian. He had chasubles, also, of amber-coloured silk, and blue silk and gold brocade, and yellow silk damask and cloth of gold, figured with representations of the Passion and Crucifixion of Christ, and embroidered with lions and peacocks and other emblems; dalmatics of white satin and pink silk damask, decorated with tulips and dolphins and fleur-de-lys; altar frontals of crimson velvet and blue linen; and many corporals, chalice-veils, and sudaria. In the mystic offices to which such thing were put, there was something that quickened his imagination.

pp. 160-161

from O. Wilde, The Picture of Dorian Gray, chapter 11,

 Giunti, Milano 2003

Terry Gilliam's version of the Crucifixion

- I've got mixed feelings about this -
Jesus Christ on his Cross / security camera, in Gilliam's The Zero Theorem, 2013