#it's me and that one scene from medici against the world <3 | Explore Tumblr Posts and Blogs

carmenxjulia · 4 years

Note

do you ever just think about how carmen's first reaction after hearing julia's voice in the fashion caper went from mild surprise to a smile? or how after she quickly disarmed julia, she gently put her gun back in her coat. or how carmen grabbed julia's hand? or how she made julia iin charge of her group despite barely knowing her? im still thinking about it and i cant fully explain why these small moments are so good? can you, please?

Absolutely. You’re talking to a person who created a 20,000 word fanfic based on a 45 second interaction. You want a Carmen and Julia analysis? I’d say you’ve come to the right place.

Yes, I do think about that scene a lot.

Let us begin.

Last season, Carmen and Julia interacted for less than a single minute. In that time, Carmen came to know and trust her enough to pass off the Magna Carta to her for safekeeping. And Julia got to have a real conversation with someone who was an international criminal and by some, might have even been branded as dangerous.

But Julia had always believed in her innocence and clung to the idea that there was more to each theft that most people didn’t see. Carmen leaving the Magna Carta was solid proof towards her theory that Carmen was one of the good guys. And it was a show of goodwill, a symbol of trust, that Carmen was banking on Julia doing the right thing and not taking full credit for its safe return (at least among her colleagues).

Then we get to season 2. Julia has, almost inexplicably, doubled down on her insistence that Carmen Sandiego is doing good in the world and is not actually a criminal at all. From the very first moment that we see her, she is trying prove her innocence. She asks Chase to wake up so that he can clear her name. She tries everything she can to wake him, and we as the audience are made to think it’s because she is concerned for his well-being… until the scene ends with, “we need you to tell us that she did not do this to you.”

Now, while I’m sure Julia would never wish death or permanent damage to Chase, she’s not trying to wake him because she particularly cares about him. He was rude and selfish and constantly dismissed her and yeah, Julia is the type of person who would still care after all that (refer to the first sentence of this paragraph), but it’s really really important to recognize that she’s not there for him. She’s there on behalf of Carmen.

So, what does that have to do with “The Fashionista Caper”?

We, the audience, are privy to Julia’s private conversations with Chief and other members of A.C.M.E. We get to see her defending Carmen, over and over, in the episodes leading up to episode 4. It’s not just speculation anymore! In Season 1, Julia had her theories, but was actively open to being proven wrong when provided with evidence to the contrary of her hunches. In Season 2, she is certain she’s right, and she stands by her belief that Carmen is good.

Carmen doesn’t see/hear any of that. She has literally no idea Julia has been defending her behind her back. No idea just how hard Julia has been fighting to clear her name with A.C.M.E. Not a single clue how conflicted Julia actually is, with having a job to do versus wanting to stand by the facts right in front of her.

She doesn’t see Julia again after the train incident (“The Chasing Paper Caper”) until they meet in Italy (”The Fashionista Caper”). All Carmen knows is that Julia is not as hellbent on catching her as Chase was, and that the Magna Carta were returned safely.

We, the audience, have a front row seat to watch Julia go from shaky theories to boldly proclaiming Carmen Sandiego is not who everyone thinks she is, despite seeming to be the only person who actually believes that.

Legitimately, Carmen has very little reason to trust Julia other than a gut feeling. There is no explanation for not only roping her into the caper, but immediately giving Julia her gun back and fully trusting she wouldn’t use it. Any other agent would have ignored Carmen’s request for help and gassed her right then and there. Carmen just inherently knows Julia is different.

We actually see an example of this just a few moments earlier. When Agent Zari tells Carmen to freeze, Carmen sets the gun off and turns it on her right away. When Julia shows up and demands more or less the same thing, the two have a little back and fourth banter. Carmen, no doubt, notes Agent Argent’s hesitation.

Carmen’s surprise no doubt came from her not expecting another agent, or at least, not expecting an agent to give her a chance to respond. Whereas Zari wasn’t afraid to get up close and point the gun directly at her face, Julia is standing quite far off. It probably took Carmen a moment to register who was speaking to her, and once she realized it was Julia, she relaxed, and smiled.

Julia helped her before, with the Magna Carta. So, why not seek her help more directly? Test the waters with the one agent who was willing to give her the time of day.

Not only that, but undoubtedly Carmen was re-formulating her plan to include Julia in it, right at that very moment. Honestly, the whole thing went far better with 4 people instead of the initial 3 (Carmen, Ivy, and Zack). So Carmen was probably like ‘oh hey that very reasonable agent from the train that I can probably count on to help me out if I also present myself as a sane and reasonable person.’ And then it actually worked.

But we can dissect this small change in her expression even further. Carmen is genuinely happy to see her/hear her voice. Not just because she knows Julia is raw and untrained and easily disarmed, no. Upon their first meeting, Carmen gave her the nickname “Jules”. In fact, Carmen has literally never spoken her full name, “Julia”. Even when passing off leadership in front of Ivy and Zack, Carmen still sticks to the Jules nickname. She doesn’t do this with anyone else. (Sure, Player is “Player”, but that’s purely upon his own request.) Maybe this is a reach, but, it feels like this indicates a completely different type of relationship and level of intimacy that Carmen shares with Julia and no one else.

Getting back on track.

Carmen probably took her hand as an extra precaution to prevent Julia from deciding to whip out her gun again. I mean, sure, it was also faster and easier to lead her by holding her hand. But also consider that the gun was holstered against her left hip, making it awkward to try to maneuver around her jacket with her left hand to try and grab it. With her right hand occupied, it would have taken too long for her to pull it out again, even if she’d tried. Honestly, taking her hand was the most practical action in this scenario, even if it was a bit intimate. It doesn’t have to mean anything, but it can.

It is also worth noting that although Julia believes Carmen is on the same side as A.C.M.E., she is probably rightfully confused starting from the moment Carmen takes her gun and then doesn’t gas her.

Julia’s orders from A.C.M.E. were to capture Carmen Sandiego in order to protect the Medici gowns. So when it turned out Carmen wasn’t planning to take the gowns, Julia had to decide that saving the dresses overruled the order to capture Carmen. The original mission she was given changed in a matter of seconds, making her have to pick a priority (Carmen or dresses). It also gave her an opportunity to work with Carmen and show A.C.M.E. she’d been right all along. But Julia, much like Carmen, had to trust her gut about this woman she barely knew, but had the utmost faith in.

As far as putting Julia in charge of getting the gowns to safety, that was probably the easiest decision of the evening for either of them. Carmen already knows Julia is one of the good guys. She doesn’t need to question her motives, at all. Not only that, but as mentioned above, Julia had already proven she could be trusted by ensuring the safe return of the Magna Carta.

Carmen knew V.I.L.E. wouldn’t be far behind, and dividing her attention could have been disastrous for the mission overall. I mean, she’s Carmen Sandiego, so, she could have probably handled it. But it was a much smarter move to put Julia in charge. She knew that Ivy and Zack were better at taking orders than giving them. She knew Player wouldn’t be able to coordinate well enough from his location. Carmen needed someone on the ground, right there, right then. Julia was available.

One final piece of this scene, that although it was not mentioned in the original ask, I feel is worth noting. Julia is actively worried about Carmen Sandiego’s safety. She outright asks, “what about you?” when Carmen instructs the others to get the gowns to safety. Why should she care? Her mission, saving the Medici’s, is about to be complete. She’s about to really and truly prove herself to A.C.M.E. by being the agent responsible for saving the gowns. And yet she pauses, wanting to ensure Carmen is safe before she goes anywhere. A person that is supposed to be her enemy, although Julia has never truly believed that.

This is followed by Carmen pushing Julia back, not only urging her to leave with the gowns and Carmen’s own team, but moving her further away from danger as well as physically putting her body between Julia and potential harm. There are smashing sounds coming from the ceiling; clearly something bad is on its way. As usual, Carmen puts the safety of her friends before her own, which is a completely new experience for Julia. She is getting to see a caring and protective side of the super thief, one she was previously unaware of. Even for someone she barely knows, she’s willing to put her life on the line to save that of someone else.

And finally, even after Julia runs after Ivy and Zack, she turns back one last time to see how Carmen is doing. She doesn’t want to leave her behind, but ultimately realizes she has no choice. She certainly wouldn’t be any use in a fight. Plus, her number one objective is to save the gowns. Carmen Sandiego is probably going to get away. But the items she was sent to protect are now in A.C.M.E. hands. Job well done.

But Julia is left with the knowledge that Carmen Sandiego played an integral part in the success of the mission. She and Zari could not have saved the gowns alone (especially with the knowledge that Carmen was being attacked). Carmen Sandiego did in fact steal things- but it was to get the jump on another person or organization before they could do so themselves, smuggling the valuables away and returning them at a later date. Just as was the pattern Carmen laid out in Season 1.

Julia not only had her long-standing theory validated, but she got to see just how self-sacrificing Carmen could be. Putting herself in harms way while everyone else was encouraged to find somewhere safer. For someone labeled as a criminal, that was probably completely unexpected. Among a multitude of other unexpected things that had just happened. But that one may have been the most surprising.

All in all, there is a lot to say about this scene, and I could honestly go through it frame by frame and write a comprehensive essay. But hopefully this will sufficiently answer your query, and if not, feel free to send another ask.

#Carmen Sandiego #asks #anonymous #text #Carmen X Julia #Carmelia #Carmen #Julia Argent #Carulia #JuleThief #Carjules

280 notes · View notes

firexfate · 5 years

Text

the black sparrow || reign

♔ seven ~ the future queen of france ♔

WARNING: THIS STORYLINE IN COMPARISON WITH REIGN IS SWITCHED. I KNOW THAT COUNT VINCENT ARRIVED AFTER MARY MEETS TOMAS, BUT THIS IS HOW IT’S GOING TO GO FOR THIS STORY. AND I MADE UP SOME EVENTS THAT HAPPENED JUST FOR THE SAKE OF MOVING THIS ALONG. ENJOY! <3

With the Count dead and everyone in the caste finally safe, all the household members fell back into the daily routine, even as they were all still in a bit of shock because of what happened. Slowly, everything went back to normal. Mary and Alisa, while they come to some form of an understanding, did not speak with each other, more than necessary (Mary resented her still). Alisa returned to her duties as the Tsaritsa, keeping up with whatever troubles have occurred in Russia, and at night, Francis would sneak into one of the rooms to see her. Bash tried to speak with Aaliyah a few times, but stubbornly and rightfully so, she refused to speak with him.

A week slid by, and it was time for the King to return back from his mission to France. The day when he returned, Alisa was outside with Aaliyah, Katya, and Natasha, drinking tea, sitting on a blanket. Alisa was listening to Aaliyah rant, recounting the events for about the fifth time, regarding the now diseased Count Vincent.

“I still cannot believe Olivia,” Katya commented, sipping her tea, “Prince Francis told her clearly that she was to hold the door for the others, as they could not get inside. Queen Catherine threatened her, but she did not listen, scared as she was.”

“Mary and her ladies were trapped. That is why they returned.” Natasha added. Alisa sighed, draining her cup.

“Well, at least, this is over and done with, and you are all safe.” She smiled at them softly.

“Speaking of safety, Mary should be at the very least thankful for what you have done. You saved her life.” Aaliyah looked down, bitterly.

“She can hate me all she wants. Actually, I will think that it would be odd if she didn’t now more than ever.” Alisa responded calmly. Natasha’s eyes grew wide.

“Now? What’s happening now?” She demanded. Alisa smiled ever so slightly, her cheeks tinted pink.

“Francis, he---”

“Oh my God!” Katya shrieked with delight, “He asked you to marry him.”

“Shhh,” Alisa hissed, laughing all the same, “He did not exactly ask, but he said he wanted to. He is trying to convince his father to end this alliance with Scotland.” Aaliyah smiled at her, reaching forward to grab her hand and squeeze her fingers.

“I knew that everything would work out for you, and I know Henry will give into Francis’s demands.” Alisa nodded at her gratefully.

“Spasibo, Aaliyah, and I know that you and Bash will be able to work everything out.” Katya shook her head.

“I doubt that,” She sighed, “He has been spending all of his time with the Queen of Scots.”

“I don’t know what he sees in her.” Natasha agreed. “He is better off with Aaliyah.” The young Indian woman shrugged her shoulders.

“Once he gets his head out of his arse, then I will consider talking to him.” The girls all shared a giggle, not noticing how a shadow fell over them, as someone approached them.

“I do hope I am not interrupting?” Francis’s voice caused Alisa and her ladies to direct their attention at him. Natasha and Katya dissolved into madder giggles.

“Not at all, Dauphin,” Aaliyah bowed her head, “We were just talking about you.”

“Lying does not suit you, my friend,” Alisa chastised lightly, “We were talking about Bash.” Francis chuckled, before looking over at the Tsaritsa.

“My father wishes to see you.” There was a smile in his voice, as Alisa’s eyes grew wide, as she rose to her feet, an unexpected gasp escaping the corners of her lips.

“Francis, you don’t mean...?” Francis gently took her hand, guiding her into the castle, smiling down at her.

“I told him everything and tried to reason with him about a new alliance, but it seems as though my mother has gotten to him first. He has already been considering this, especially since the Count Vincent issue.” Alisa couldn’t stop smiling, leaning her head against his shoulder.

“We will be wed.” She whispered in disbelief. This was actually happening. Francis kissed her forehead softly, before the two pulled away, entering the throne room, together. King Henry and Catherine de Medici were already there, practically at the edge of their seats with impatience. Alisa curtsied before them.

“Your Majesties, you wished to see me?” She looked up at the King.

“Yes, I have, Tsaritsa. I have heard what happened here while I was gone, of Count Vincent’s fate.” Alisa pursed her lips, looking down for a moment. “And I could not be more impressed and grateful.” There was a smile in his tone, as Alisa locked her eyes upon his.

“I don’t understand, my lord.” She whispered.

“I think you do. You have risked your life for France, as if it was your own country, you protected Mary and her ladies’ virtue, and you saved Francis’s---my son’s---life, who is to be King of France, one day. And for that, I owe you sincere recognition.” Alisa merely smiled.

“It was my honor and pleasure, Your Majesty,” She bowed her head, “But it was nothing.”

“It isn’t nothing,” Catherine interjected, “You deserve a reward for what you have done for us.” Henry nodded in full agreement.

“Name anything, and you shall have it.”

“You are too kind, King Henry,” Alisa told him modestly, “But I don’t need any rewards. I have not forgotten what you have done for my country. I have everything I want.”

“And yet, my son has told me otherwise.” Henry smiled, seeing the shock wash over Alisa’s face. “He has been persuading me ever since I have returned to end the alliance with Scotland.” Alisa looked over at Francis, who smiled at her and squeezed her hand.

“Has he been successful?”

“I didn’t need persuasion. Ever since you came for my help, bargaining for the companies that you so needed, you had my utmost respect,” Henry stood up, walking down to her, “You are not Mary, the woman Francis was supposed to be married to. She is cowardly, weak, and indecisive. You are better. A true Queen. The Queen that France needs.” Alisa let out a breath. This was actually happening. She would be married to Francis.

“You want me to---”

“You love him, and he clearly loves you, and France is better off with a strong empire, like Russia. I will get England by other means.” Henry told her. “I will make the necessary arrangements to dissolve the alliance with Scotland as soon as possible. Once I do this, you and Francis will wed immediately.” Francis beamed at Alisa, wrapping an arm around her.

“Thank you, Father, Mother.”

“Don’t mention anything to Mary yet,” Catherine added with a roll of her eyes, “Lord knows that she can start a scene.” Alisa nodded serenely.

“She will not know, and I will postpone before telling Russia any of this.” She bowed her head before Francis managed to pull her out of the room, wordlessly pulling her outside, towards the depths of the gardens where they would not be seen, before looking over at her as they walked, catching his breath, gazing at her face. She was radiant, overflowing with absolute joy.

“You are going to be my wife.” Francis grinned at her widely. He was just as happy as she was.“And my Queen.”

“How terrifying.” Alisa feigned a shudder. “I can feel the pressure building up on me already.”

“Are you mocking me?” The Dauphin pressed a hand over his heart, mocking his hurt.

“The world does not revolve around you, Francis. You should know better.” Francis smirked ever so slightly.

“Well, it actually does, being the future king of France.” Alisa raised her eyebrows, unable to fight another smile lighting her face again.

“Aren’t you cheeky,” She muttered, knowing that she has said this countless of times before. Francis pulled her against him, stopping for a moment, cupping her face in his hands, pressing his forehead against hers.

“I love you, moye solntse.” (my sunshine) Alisa felt her heart melt at the endearment and she looked up at Francis, overflowing love in her eyes.

“I love you, too, Francis,” She whispered, “Your Russian has gotten much better.”

“All of those Russian lessons paid off.” Francis chuckled. “I hope we can continue them, even after we are engaged officially.” Alisa smiled slyly.

“What do you mean by Russian lessons?” Francis raised an eyebrow as he looked at her, so Alisa continued. “Well, before they were lessons, but after you have confessed, they became something a little more---” Francis cut her off, pressing his feverish lips on hers. Alisa’s hands found her way to his curls, before he broke off, picking her up, as she shrieked with laughter, spinning her around a few times, laughing along with her. For so long, they had to hide their love inside dark rooms, but now, they will be able to tell the world that they are getting married. Francis would be able to show everyone, who was the beautiful young woman, who has won his heart, who was his main source of pure happiness.

♖♖♖

Ever since King Henry has decided that Francis and Alisa should be married, he spent most of the time in his study with his advisers. He had already written to Marie de Guise (Mary’s mother and regent of Scotland), and he has commenced negotiations directly with Russia, sending letters to both Yuri and Dimitri. Nothing was set in stone, but Francis and Alisa were bound to get engaged. Henry made Alisa present as he was discussing the arrangements with his privy council, to hear what the Russian Queen had to say to this. Alisa was quite pleased with the fact that she was being included. It made her feel like she mattered. This went on for a few days straight.

As she returned to her study to head to the throne room, where she was meeting the King of France yet again, she saw Mary and Francis conversing. There seemed to be an argument going on between the two of them, with Mary looking extremely distressed. Alisa decided to approach the young woman.

“Is everything alright?” She looked between the two of them. Francis glanced at her, smiling a little.

“We are fine, we were just discussing---”

“I am not fine,” Mary interjected, looking up at the Tsaritsa, “My country is not fine, and France is refusing to help me.” Alisa folded her arms across her chest, her eyes narrowing in concern.

“What seems to be the problem?” She asked.

“The English are attacking my country. There are not that many troops, but there is chaos spreading everywhere. My mother, who is regent, needs aid. I have asked help from France, who is my ally, and what do I get in return? Gunpowder, food, provisions, anything, but men that I need. I am just asking for a few companies, but King Henry refuses to aid me.”

“I am telling you, Mary,” Francis sighed heavily, “France is vulnerable right now and cannot afford to send any troops. I want to help, I really do, but I can’t.” Mary paused for a moment, before turning to look directly at Alisa.

“You can’t, but maybe she can.” Alisa blinked a few times in confusion.

“Are you saying that you want me to help you?”

“I want an alliance with Russia, to send me companies of men to defend my country.” Alisa laughed dryly.

“I would love to help you, really I would, but I am afraid that is not possible.”

“Your empire is the strongest in the world,” Mary pleaded, “I know we have not had very good blood in the past, but I need your help.”

“Mary,” Alisa sighed, “I wish I could, but I can’t.”

“Why in the world not?” Through all of her persistent pestering, Francis lost it.

“Because she does not have any troops to send,” He blurted out suddenly, “Russia is pretty fragile right now. It is quiet there, yes, but there were still some uprisings against her cousin’s regency. She needed our soldiers to do this, so she struck an alliance with my father.” Mary’s eyes grew wide before a flash of anger crossed her gaze.

“So, this is why the King has been so reluctant to send me the troops that I need. He has sent them to Russia, his new ally, behind my back.” Her voice dripped like poison.

“This has nothing to do with you,” Francis stepped in front, over Alisa, his eyes blazing, “Don’t make it personal.”

“I am afraid that is impossible now,” Mary scoffed, glaring at the Tsaritsa, “It already has.” She pushed past the two of them rudely, before disappearing down the hall. Francis sighed heavily, running a hand through his curls.

“She is impossible, I can’t believe that she was about to be my wife.” He grumbled, before turning to Alisa and taking her hand, his expression growing softer at once. “I am so sorry about her, my love. She does not know what she is saying.”

“It’s alright,” Alisa shrugged a little, “I knew she was never going to like me anyway. Though, she will certainly hate me after she finds out who you will be engaged to.” Francis waved her off, as he slipped her arm through his and the two began walking down the halls.

“She will get over it. This alliance was never good enough, it does not work both ways. We offer Scotland protection, and what does the country offers us? Nothing.” He explained. Alisa smiled ever so slightly before her eyes caught sight of a young man that was walking side by side with Greer. The two were amicably talking, and both looked up once they have approached Francis and Alisa.

“Lady Greer,” Alisa smiled at her, “It is lovely to see you. I don’t believe I have met your friend here.” Greer smiled kindly.

“Your Grace, this is Prince Tomás of Portugal, Lord of Pamela. Tomás, you know Prince Francis Valois of France, but I do not think you have met Tsaritsa Alisa Ivanova, Queen of Russia.” Tomås bowed low to her, before taking her hand and kissing it.

“Your Majesty,” He greeted her with a smile, “I have heard much about you. It is good to meet you at last.”

“And it is wonderful to meet you, too, Prince Tomás. May I ask what brings you to the French Court?”

“Same as you,” Tomás responded, “I am seeking an alliance for my country, as Portugal is in desperate need of one.” Alisa nodded once.

“Well, I hope you find what you are looking for,” She bowed her head, before departing, Francis at her side. He was looking over at her, smiling ever so slightly. The glint in her eyes was back again.

“I know that look. What are you planning?”

“Just a thought,” Alisa mused, as a sly smile curled on her lips, her mind exploding with ideas, “Mary needs troops. Tomás needs an alliance. Perhaps, I could let her know that she should start negotiating with Portugal. And then we would all be happier.”

♖♖♖

Alisa made it her mission from the moment when she voiced her ideas to Francis, regarding the possibility of an alliance with Portugal and Scotland. Once she told this to Mary, the Queen of Scotland was at first skeptical regarding this offer, but once she realized that this was not a trick, she accepted it, and even, thanked the Tsaritsa for her help. Within a few days, Henry hosted a celebration, which was all furnished nicely by Catherine, to celebrate the presence of the Portuguese Prince in France. Alisa entered the festivities, with her ladies, dressed in a gold and red, flowing dress. Katya and Natasha were wearing matching blue dresses, while Aaliyah was wearing her pink one.

“They went all out, didn’t they?” Katya chirped enthusiastically, as she took a goblet wine being offered to them.

“Catherine must really like this Tomás,” Natasha added, as her eyes flickered to Mary, speaking with the Portuguese Prince.

“No, she just hates Mary, for some odd reason,” Alisa told them, before smiling at her friends, as she approached Bash and Francis.

“Good evening, Alisa,” Bash spoke amicably, as Francis took her hand once she came to stand beside him.

“Bash,” She greeted, “Have you spoken to Aaliyah yet?” She asked, watching Lola maintaining a conversation with one of Tomás’s men.

“Why would I?” He feigned confusion.

“I know you are lying if you tell me that you feel nothing for her,” Alisa informed him. She was about to say more, but her attention was drawn towards something else. Tomás dragged Mary to the floor, nodding to the musicians to play faster and robust music. His hands slid to Mary’s waist, touching her, causing everyone to gasp in the room. This dance was a scandalous one.

Alisa felt her face slowly turning red, as she imagined Francis doing something like this, dancing in front of everyone. It would be absolutely shameful, and once her eyes met with Mary’s, she could see the mortification in the young Queen of Scots eyes. However, Mary and Tomás kept dancing, much to the public’s shock.

“My God.” Alisa heard Francis murmur. He too was astonished but looked more disgusted than anything. Bash, on the other hand, was sniggering through the whole thing.

“Why don’t you dance like that?” He shot at Francis, smirking, “With Alisa?”

“Shut up.” Francis glared at him, causing the Tsaritsa to laugh. When the dance was over, King Henry stood up, clapping his hands once to get everyone’s attention. Alisa looked up, before gazing at Francis.

“What is this about?” She whispered. He shrugged in turn, but his eyes deceived her. He obviously knew something.

“If I may have your attention for just a moment, I have some news that I would like to share with all of you. In light of recent events, the alliance between Scotland and France has been dissolved,” Francis looked over at Alisa, a grin unfurling on his face, as Mary bowed her head out of respect once Henry’s eyes fell upon her, “Queen Mary has accepted an alliance from Portugal, which is more beneficial for her country.” There is some murmured assent coming from the crowd. Even Alisa looked surprised.

“Does this mean that she is going to marry him?” Bash muttered. Alisa shrugged in response.

“However, this is not at all, as I have good news. France needs a strong and powerful alliance so it would continue rebuilding itself as the wonderful nation it has become. Luckily, it has found one and necessary preparations have been made,” Henry’s eyes locked upon his, “Russia and France will now emerge as two unified nations, as a new marriage alliance will take place. I am pleased to announce an engagement between my son, heir to the throne, Francis, and the Tsaritsa of Russia, Alisa Ivanova.” Cheers rippled through all of the guests, as all. Alisa’s breath seemed to get caught in her throat. This was it. This was really it. No more hiding, sneaking at night, stealing kisses. No more slipping away to spend time with one another. They could be out in the open now, as two people bound by a union.

Francis turned to look at her, before he gently pulled her hand, leading her to the front of everyone so everyone could see it. He paused, his blue eyes shining in the dim light as he gazed at her, love burning in his eyes, as he dropped on one knee, before her, holding her hand, as he pulled out a ring with a gold band and a ruby stone from his pocket. Alisa felt her hand clamp against her mouth, clearly touched.

“Alisa Ivanova,” Francis began softly, his voice echoing throughout the hall. No one spoke, watching the scene intently, “Ever since you have come here to France, your spirit, energy, and compassion has brightened up these halls. You have brought such joy, especially to me. You are my happiness, my sun, my Queen, the only woman I would ever want to spend the rest of my life with. Marry me.” His face lit up in a smile that she has never seen before. There was a sparkle in his eyes which made them more beautiful than ever before. It knocked her breathless. Alisa did not think. She couldn’t, so lost in his features. She forgot that there were dozens of people watching her. She forgot where she was. She forgot the world. All she could see was Francis. Her lips seemed to move on her own, as she removed her trembling hand, letting it fall to her side.

“Yes, a million times yes,” She whispered feverishly. Francis grinned, cheeks dimpling again before he slipped the ring onto her finger. His fingers cupped her face and kissed her passionately, all the emotion pouring out at once. All of the spectators, even King Henry, and Catherine de Medici broke into applause, as the two pulled away. Francis pressed another kiss to the top of her head, as soon as he led her to the side to watch the festivities continue, his arms wrapping around her, holding her securely to him.

“You’re mine.” He whispered in her ear after many of the guests came over to congratulate them. Aaliyah practically squeezed her insides, she was hugging her so tight. Even Mary approached them, congratulating them, with a smile of her own.

“I always was,” Alisa told him, resting her head on his shoulder.

“But now, it is official, and nothing can keep us apart ever again. I will ensure it.” Francis vowed, before taking her hand in his. “Come, let’s dance.” He grinned, before leading her to the floor, dancing the night away. It was a great way to end a perfect evening.

#the black sparrow #catherine de medici #henry ii #francis valois #lady aaliyah #alisa ivanova #mary stuart #mary queen of scots #reign #reign cw #long may she reign #toby regbo #adelaide kane #bash #sebastian de poitiers #torrance coombs

10 notes · View notes

awesomesteveny-blog · 4 years

Text

Virtual Sketchbook 3

https://emuseum.ringling.org/emuseum/objects/21946/assumption-of-the-virgin;jsessionid=6505CA48B5B673C1ADCE4F9CB5682C81?ctx=7f36e5e5-ceb6-4fcf-8b09-0ba8b302e41a&idx=0

The painting entitled “The Assumption of the Virgin” by Francesco Granacci, is an oil painting that measures 90 inches by 81 inches and was done in 1515 (“THE ASUMPTION”). This painting contains a wide color palette from red and blue, all the way to dark green and black. There are some very clear shapes such as the circle behind the Virgin Mary and the grey rectangular structure that St. Thomas is kneeling on as well as the grey rectangular tomb holding plants that is behind St. Thomas and below the Virgin Mary. In the painting are depicted the Virgin Mary whom is center in the painting and floating above the other individuals, and is surrounded by angels that are of a yellow glow (“THE ASUMPTION”). The Virgin Mary is handing her belt over to Saint Thomas whom is kneeling below her, and to Thomas’s right are Saint John holding a cross, and Saint James (“THE ASUMPTION”). On the Virgin Mary’s left and closest to her is Saint Laurence whom according to tradition, was burned alive on a gridiron that is seen next to him, for not handing over the church’s treasures to the Roman Prefect, claiming that the treasure was for the poor (“THE ASUMPTION”). To the left of Saint Laurence is pictured Saint Bartholomew whom was flayed alive and then crucified by heathens while preaching in India and is seen holding a filet knife under the book he is holding (“THE ASUMPTION”). The work is balanced with the focal point of the Virgin Mary in the middle with two angels and two Saints on either side of her. There is much contrast with the Virgin Mary’s face being very pale against her dark clothing along with the yellow back of her throne against her dark clothing. Many directional forces can be seen with almost everyone in the painting looking at the focal point whom is the Virgin Mary.

This painting makes me feel a sense of awe as all the subjects excluding the angels and the Virgin Mary, were martyred and in gruesome ways (“THE ASUMPTION”). It is fitting that everyone whom is either already dead or will be killed, are pictured at a tomb. This painting also makes me feel sad as these people were murdered for their faith and still people today are killed for their faith and there are wars fought over ideals. This painting is however not supposed to be accurate in regard to events because Saint Laurence and Saint Bartholomew were not alive when the Virgin Mary died and so would not have been at the assumption of the virgin and this can feel confusing at first.

Granacci was an Italian artist that worked mainly around Florence, Italy and the Assumption of the Virgin was a very big deal in that area because the belt that the Virgin Mary gave to Saint Thomas, was supposedly held in a chapel in Prato, Italy right next to Florence (“THE ASUMPTION”). This work was commissioned for the family chapel of the Medici whom were Florence’s most powerful and wealthy group in the church of San Piero Maggiore, Florence (“Assumption of”). What this work says about the painter is that Granacci was proud of where he lived and the history of the area and wanted to do his best on a painting about a subject that the area was well known for in regards to holding the belt of the Virgin Mary. What I think the artist was trying to say is that we should not be afraid of death and I think the artist did a good job of displaying this as all the people in the painting had a calm face and did not show any fear or sadness. This work is from the Renaissance period and the scene depicted in this piece, was a common one done in many other paintings at that time.

In conclusion, based on my research of art and artists, I believe that this painting is of high importance to society and the world because of how excellent of an example it is of art during the Renaissance period. It contains many of the elements from the Renaissance period such as three-dimensional figures, linear perspective with the countryside in the background, and foreshortening with the tomb appearing very close to the viewer. Granacci studied with Michelangelo and Giorgio Vasari whom was an art critic at that time is noted saying that the Virgin Mary and Saint Thomas depicted in the painting, could have been done by Michelangelo, it was that good (“Assumption of”). Religious paintings of this subject matter, were common at this time and so this painting really does exemplify art during the Renaissance.

References

“Assumption of the Virgin.” EMuseum.ringling, emuseum.ringling.org/emuseum/objects/21946/assumption-of-the-virgin;jsessionid=6505CA48B5B673C1ADCE4F9CB5682C81?ctx=7f36e5e5-ceb6-4fcf-8b09-0ba8b302e41a&idx=0.

“THE ASUMPTION OF THE VIRGIN.” Ringlingdocents, ringlingdocents.org/pages/granacci.htm.

0 notes

zhumeimv · 4 years

Text

The Best Netflix Originals Of 2019 Most People Ignored

Date: 2020-01-11 15:00:07

[aoa id=’0′][dn_wp_yt_youtube_source type=”101″ id=”ZxWOnP8MsBI”][/aoa]

It’s the perfect time of year to hunker down inside for a movie night or dedicate a weekend to binge-watching a new series. There’s no need to head out to the theater here are a few Netflix originals you’ve probably missed so far.

Proving that 2019 is the year Netflix goes totally international,…

View On WordPress

0 notes

nofomoartworld · 7 years

Text

Hyperallergic: Chronicling the Rivalry and Camaraderie of Michelangelo and Sebastiano

Sebastiano del Piombo, “The Judgement of Solomon” (c. 1506-9) tempera (lower layers) and oil on canvas, traces of gold leaf (in half-dome) 208 x 318 cm, Kingston Lacy, the Bankes Collection (National Trust) (© National Trust images by Derrick E. Witty)

LONDON — It is fair to say Sebastiano del Piombo is not the first name that springs to mind when thinking of High Renaissance Italy — specifically the artistic hub of Rome during the early 16th century. That role goes to Michelangelo, then working on the immortally iconic Sistine Chapel. Considering that the new exhibition, Michelangelo and Sebastiano, in London’s National Gallery promises in its press release the “first ever exhibition devoted to the creative partnership” between these two artists, and thinking of this year’s earlier Caravaggio show remarkable for its lightness on Carvaggio’s actual paintings, one’s immediate dread is that Michelangelo’s ticket-selling name has been shoehorned into a study seeking to elevate an obscure contemporary of his. How delightful it is then that the show methodically and academically does what it says on the tin: offer compelling instances of collaboration, consistently demonstrated with convincing examples, and reveal the twists and turns of a 25-year friendship and artistic relationship. A happy bonus is how this survey paints an image of a deliciously Machiavellian art world in Rome — all scheming competition and heated rivalry.

Michelangelo “The Entombment (or Christ being carried to his Tomb)” (c. 1500-1) oil on poplar, 161.7 x 149.9 cm (© The National Gallery, London)

As such, it quickly becomes clear that curator Matthias Wivel is not out to champion del Piombo as an unsung master. Throughout the show, his work is shown to be decidedly clunky and lacking in comparison to the finesse and genius virtuosity of Michelangelo. Beginning with the Venetian-trained del Piombo’s arrival in Rome, the focus is exploration of the technical differences between the two artists within the context of fiercely competitive art patronage in Rome. We are thus invited to compare the working method behind Michelangelo’s “Virgin and Child with Saint John and Angels” (c. 1497) — its unfinished state revealing meticulously exact linear planning, green coloring of the dead flesh, and a piecemeal approach regarding covering the canvas surface — with del Piombo’s also unfinished “Judgement of Solomon” (c. 1506–09). With its underdrawing clearly showing hesitancy and a late-stage change in composition characteristic of an improvisatory way of working, it contrasts with Michelangelo’s determined precision. Del Piombo’s preference for an overall painterly fuzziness that evokes mood and atmosphere is consistent with the Venetian school of painting. Elsewhere, del Piombo’s Saints Bartholomew and Sebastian (c. 1510–11) from the doors of the Church of San Bartolomeo in Venice, similarly show a kind of all-over sfumato that fuzzes outlines, giving a murky, moody tone. In his paintings there is none of the distinguishing dynamism of the Florentine Michelangelo’s solid figures and strong composition.

Sebastiano del Piombo “The Visitation” (1518-19) oil on canvas, transferred from wood, 168 × 132 cm Musée du Louvre, Département des Peintures, Paris (© RMN-Grand Palais (musée du Louvre) by Hervé Lewandowski)

This technical introduction to the two artists in the exhibition’s first room thus makes the story that del Piombo was actively promoted by Michelangelo as competition against his “detested” rival Raphael, all the more compelling. In an era of prodigious art commissioning by the ruling religious and political elite (most famously, the powerful Medici family), a highly cynical scene emerges in which del Piombo, specializing in oil painting (tempera being the more common medium), is championed by Michelangelo specifically as a challenger to the city’s only other big oil painter, Raphael. The National Gallery makes a convincing case of del Piombo seeing himself as being in direct competition with the famed colorist skills of Raphael via a progression of works showing del Piombo’s increasing tendency away from murky painting towards pure brilliant color. More juicy illustration of the two artists’ devious machinations in pursuit of patronage comes with the display of their correspondence: del Piombo says to Michelangelo in 1519, having just finished his Raising of Lazarus, “I beg you to persuade Messer Domennico [Boninsegni] to have the frame gilded in Rome, and to leave me to arrange the gilding, because I want to make the Cardinal realise that Raphael is robbing the Pope of at least 3 ducats a day for gilding .” Similarly, in 1520 following Raphael’s death, Michelangelo writes to Cardinal Bernardo Dovizi da Bibbiena persuading him to take on Sebastiano to “share in the work at the Palace, now that Raphael is dead,” humbling adding “You are always granting favours to men of esteem; I beg your Lordship to try out [the favour] with me.”

After Michelangelo “Pietà” (1975) (copy after “Pietà” (1497-1500) St Peter’s, Vatican City) plaster cast from five piece moulds, with wood and iron armature, 174 x 195 cm, Vatican Museums, Vatican City (© Photo Vatican Museums)

In terms of concrete art historical evidence, the show works brilliantly with a methodical presentation of clear examples of the cross-pollination of ideas and designs between the two artists. The Vatican museums have loaned the Gallery a 1975 plaster cast of Michelangelo’s “Pietà” of 1497–1500, shown opposite del Piombo’s Pietà, or “Lamentation over the Dead Christ” (c. 1512–16). (Enjoy it — this is the closest you’ll get to the sculpture; the real thing should never leave its bulletproof case at St. Peter’s cathedral in Rome.) Each piece has its monumental, centrally positioned Virgin arranged to be perpendicular to the horizontal Christ, yet del Piombo makes innovative changes by including a nocturnal setting. More thrilling is the adjacent drawing by Michelangelo: a study of hands (among other bits and bobs), which is placed directly in the line of sight of the Virgin’s hands in del Piombo’s “Lamentation.” So displayed, it’s extremely hard to defy the argument that the former was a preparatory drawing for the latter. If this isn’t exciting enough, on the back of the “Lamentation” panel are sketches the National posits as studies consistent with designs in the Sistine Chapel; suggesting Michelangelo used this panel to sketch out designs and ideas eventually used there.

Sebastiano del Piombo, after partial designs by Michelangelo, “Lamentation over the Dead Christ (Pietà)” (c. 1512-16) oil on poplar, 248 × 190 cm, Museo Civico, Viterbo (© Comune di Viterbo)

The same presentation occurs again for two main del Piombo showpieces, demonstrating a working relationship in which del Piombo blended into his oil painting drawings provided by Michelangelo. The near four-meter-tall “Raising of Lazarus” (1517–1519) — apparently del Piombo’s answer to Raphael’s “Transfiguration” (1516-20) — is surrounded by supporting drawings. Sensationally, del Piombo’s Borgherini Chapel in Rome has been reconstructed here using state of the art printing technology to add visual heft to the translation of Michelangelo’s preparatory drawings.

The rigorous, academic method of display absolutely makes this show. It is undeniable, looking at the key examples in the “Lamentation” and “Raising of Lazarus,” that there is little to distinguish del Piombo as a key Renaissance presence. The latter piece has been in the National’s collection since 1824, yet for all its scale and vibrant colour it somehow still feels uninspiring and workman-like. That del Piombo was not a Renaissance master of the level of Michelangelo is confirmed in the final room covering their parting of ways after

After Michelangelo “The Risen Christ” (c. 1897-8) (copy after the Risen Christ, 1519-21, Santa Maria sopra Minerva, Rome) plaster cast from approximately eight piece moulds consisting of approximately 81 individual pieces 251 × 74 × 82.5 cm, Statens Museum for Kunst, Copenhagen (© SMK Photo by Jakob Skou-Hansen)

1536 by which time Michelangelo has broken from his one-time collaborator, labelling him, according to the final room’s wall caption, “lazy.” Del Piombo’s latter works melt into generic Italian Renaissance fare. The show’s press has trumpeted much about the envelope-pushing reconstruction of the Borgherini Chapel, and boasted of some admittedly excellent loans. The Pietà copy, and the two versions of Michelangelo’s the Risen Christ — one from 1514, loaned by the San Vincenzo Monastery in Bassano Romano, the other a cast of its second version from Santa Maria sopra Minerva in Rome, both surrounded by exceptional preparatory drawings — are a very rare treat indeed. However, Michelangelo’s “Taddei Tondo” (1504–06) doesn’t count since it’s otherwise freely viewable in the Royal Academy, down the road, the presence of the Pietà copy, and the two versions of Michelangelo’s the Risen Christ — one from 1514 loaned by the San Vincenzo Monastery in Bassano Romano, the other a cast of its second version from Santa Maria sopra Minerva in Rome, both surrounded by exceptional preparatory drawings – are a very rare treat indeed.

Most importantly, the exhibition has successfully steered clear of unduly inflating the importance of del Piombo, or presented another painter as an excuse for yet more Michelangelo worshipping. It is fortunate that their 25-year friendship has proven ripe for examination. It provides a rewarding experience that overcomes the complaint by some critics that Michelangelo by nature just dominates any other artist on the bill.

Michelangelo & Sebastiano continues at the National Gallery (Trafalgar Square, London, UK) until June 25.

The post Chronicling the Rivalry and Camaraderie of Michelangelo and Sebastiano appeared first on Hyperallergic.

from Hyperallergic http://ift.tt/2qkhZCj via IFTTT

#IFTTT #Hyperallergic

0 notes