A Curious Carriage.

M. BLANCHARD, adopted Citizen of the principal Cities in Europe, Pensioner of the French nation, Member of several Academies, &c. has invented a CARRIAGE, which runs without the assistance of horses, and goes as fast as the best post chaise.—AN AUTOMATION IN THE SHAPE OF AN EAGLE, chained to the tongue of the carriage, and guided by the traveller, who holds the reins in his hands, directs it in every respect. This extraordinary carriage cannot only travel on all roads, but likewise ascend any mountain which is accessible to any common Carriage. The distance it may proceed is unlimited, as there are no springs in the case that require winding up.

The Recorder. Greenfield, Massachusetts. Thursday, September 5, 1793, page 3.

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A Young Daughter of the Picts by Jacques Le Moyne de Morgues, ca. 1585.

This colorful miniature apparently served as the model for an engraving for plate III of the section on Picts and ancient Britons in Theodor de Bry’s publication of Thomas Hariot's “Briefe and True Report of the New Found Land of Virginia”, published in 1590. Originally attributed to the artist John White, whose drawings from the Virginia expedition were also featured in the de Bry volume, “Young Daughter” was not reattributed to Le Moyne until after its acquisition by Paul Mellon in 1967. The Pictish illustrations were intended to remind readers that early natives of the British Isles existed in a savage state similar to natives in the Americas. “Young Daughter” was the second miniature attributed to Le Moyne from his drawings of early indigenous peoples, most of which are now known only through engravings. The first miniature identified as his work, and the only one from Le Moyne's drawings of Timucuan Indians, is “Laudonnière and King Athore”, which was featured in part 2 of de Bry's “America” and is in the James Hazen Hyde collection of the New York Public Library. The drawing is a harmonious embodiment of Le Moyne’s two known subject areas, ethnological drawings and botanicals. The colorfully ornamented body of the young woman, with her high waist, full thighs, and long hair rippling in waves to her hips, evokes his drawings of the Timucuan women, who also tattooed their bodies through a process Le Moyne describes in his Florida observations. Her botanical tattoos, such as the cornflowers on her waist and wrists, and the heartsease on her waist, calves, and hips, also bear comparison with Le Moyne’s existing botanical illustrations. In addition, Le Moyne decorates her with species newly introduced to Western Europe, thus signaling his botanical sensibilities and knowledge, though rendering her slightly anachronistic.

➤ 𝙻𝚒𝚜𝚊 𝙵𝚘𝚛𝚍

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This is the way

Yes, the Sun travels though Ophiuchus, but it's been left out of Western astrology. When we think about it, the reason why is obvious... the rulers fear Ophiuchus.

"Ophiuchus represents true individuality; the realized self; the lover and mother of others. Their enemies are the haters and their minions, who are locked into a sense of false community based on opposing what Ophiuchus/13/women's power represents, and will try to destroy her any chance they get. Maybe it’s just a simple fact of the patriarchy hating the Mother, the maternal leader and sage; the someone in contact with the secret source of a woman's awesome power over life and death, which men cannot control. And they hate women for it.

For eons, women have been helping the others confront the world beyond their understanding. Men call it magic, women call it intuition and transformation. But women are not the only target of violence and ignorance, men with this sign are also liable to be punished or driven underground."

Research Tartaria.

Medusa, New York

The snakes represent inner turmoil, anxieties, and destructive thought patterns that assail the mind. The depiction suggests an ongoing battle for control over one's thoughts and emotions, emphasizing the struggle for mental equilibrium. The myth's narrative, including Medusa's petrifying gaze and her eventual defeat, becomes a metaphor for conquering these inner challenges, thereby achieving psychological transformation and self-awareness. This interpretation highlights the rich symbolic layers inherent in the Medusa motif, connecting it with the complexities of human psychology and the quest for personal growth.

https://upload.wikimedia.org/wikipedia/commons/1/1c/Medusa_Mascaron_%28New_York%2C_NY%29.jpg

Unicorn Renaissance Ring. Germany or Italy, c. 1550.

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