Jewellery Beauty Quotes

And when wine has soaked Cupid’s drunken wings, he’s stayed, weighed down, a captive of the place. ... Wine rouses courage and is fit for passion: care flies, and deep drinking dilutes it. ... Don’t trust the treacherous lamplight overmuch: night and wine can harm your view of beauty. Paris saw the goddesses in the light, a cloudless heaven, when he said to Venus: ‘Venus, you win, over them both.’ Faults are hidden at night: every blemish is forgiven, and the hour makes whichever girl you like beautiful. Judge jewellery, and fabric stained with purple, judge a face, or a figure, in the light.

If you want to see the beauty of any fish, throw it into the water, you will see how best it can swim because that is its source. Do you want to see the beauty in you? Don't look in the mirror, don't put on makeups, no jewelleries or expensive designer clothes, just go back and reconnect to your source and I bet, the best of you will show up. Until you return back to God, your best won't come out because He is your source.

It was a warm evening, and there was less silk and more fine cotton than at Savita's wedding. But the jewellery glittered just as gloriously. Meenakshi's little pear-earrings, Veena's navratan and Malati's emeralds glinted across the garden, whispering to each other the stories of their owners.

Life had too often been like this bit of worthless jewellery: the promise of something beautiful that proved nothing but an illusion.

She was wearing a black dress without decoration, thick-soled black boots and vast amounts of silver jewellery on her arms. Her red hair was spiky like some new species of cactus. I have heard the word ‘stunning’ used to describe women, but this was the first time I had actually been stunned by one. It was not just the costume or the jewellery or any individual characteristic of Rosie herself: it was their combined effect. I was not sure if her appearance would be regarded as conventionally beautiful or even acceptable to the restaurant that had rejected my jacket. ‘Stunning’ was the perfect word for it.

This time, I sat next to a pixie girl called Takara, who had pinkish hair and wore a bright pink dress to match. She was the first forest-dweller I had seen wearing jewellery: she was wearing a necklace and bracelet of finely worked crystal beads. When she noticed my interest, she removed her bracelet and held it out to me. “Sophiel, I would be so pleased if you would wear this!” I was surprised by this kind and very selfless gesture; after all, I had not been admiring her jewels with any intention of asking her to part with them! “You’re very kind, Takara, but I was merely admiring your handiwork!” I said, trying politely to refuse her gift. “Mitsuko told me that you make your jewellery yourself. You’re very talented, they’re really lovely pieces, but I wouldn’t want to take them away from you. It’s you that makes these jewels really beautiful!

You'd think the sight of beautiful Place Vendôme would lift my spirits but oddly the arc of jewellery - so obviously beyond the means of a jobless person like me - only depresses me more. I plod on feeling confused, guilty even, that I should feel unhappy in a place that looks like paradise.

The aesthetes of Des Esseintes' generation found diamonds common, rubies and emeralds depreciated, and turquoises vulgar. The old poetry was dead, though echoes of it lived on in the names of such gems as chrysoberyl and peridot and olivines and almandines and cymophanes and aquamarines. Beauty which has departed from things may live on in words.

When I was little, my sister had a pretty jewellery box. Inside was a ballerina that denoted one idea of feminine beauty with her dainty waist, pink tulle skirt and gold hair. This was a representation of femininity that I felt I would never achieve, but one that I sought. Years later I had a ballerina tattooed on my right arm as a symbol of the femininity I now feel. It illustrates the journey I have undertaken and the trans femme/woman I have become.

Aiden was taught about the old world, the ways in which his ancestors and their nations lived. In those ‘grandest times’ it seemed Outside was valued highly, that great attention was lavished upon the sun, and the air, and movement. There were tales of people running in circles, fighting in the open air, crowds choosing to watch. He’d thought such sport nonsense, the idea of participating in vast collectives in the Outside ridiculous enough, but even the idea that one might take such a thing as ‘a walk’, that there was a better use of time than spending it with the height human accomplishment, surrounded by fine and beautiful possessions, rich jewellery and glorious illustration, with the writings of generations for comfort, had seemed purest idiocy. Imagine, he had thought, Outside having as much to offer as Inside. Imagine it having any point at all. Oh, he thought, how those people of the past placed false treasure in the powers of sun, and of sky. Oh, how they underestimated true wealth: the jewels of the earth, hewn and sculpted and sanded into glittering lumps of perfection.

She was wearing a simple silver sheath cut within an inch of indecency, curving round her slender shoulders and then falling away to expose the smooth white skin of her back and just a hint of the soft round curve of her breasts. She had on no jewellery, only a pale wash of lipstick, and again the black halo of hair was arranged so that it looked almost wind tossed. Yet her dark tresses shone, framing her face with a soft, unearthly light. Next to the other women at the table, with their diamonds, heavy strands of pearls, and meticulously groomed faces and hair, she seemed feral and bewitching. The impact of her beauty lay in her confidence and her utter lack of self-awareness. In contrast, others appeared to be trying too hard, careful and staid.

This painting was created between 1662 and 1665, and is now housed in the Gemäldegalerie Berlin. It depicts a young woman holding her pearl necklace up to the light, apparently considering whether it is the right piece of jewellery to wear. The woman is caught at the exact moment where she considers her own beauty. Interestingly the mirror appears to be too high for the woman to be naturally able to view her reflection, perhaps commenting in part on her vanity. It is believed that this painting was originally kept in Vermeer’s wife’s bedroom, where it was recorded as being found following his death. Vermeer only kept four of his own paintings, which suggests that the sitter of this work was most likely his wife.

Anna returned her gaze to the bankers' wives, who huddled into the company of one another. The women were young. Their husbands wore the jewellery of their beauty like elegant wristwatches.

AM: My father had arrived in New York all alone, from the middle of Poland, before his seventh birthday… He arrived in New York, his parents were too busy to pick him up at Castle Garden and sent his next eldest brother Abe, going on 10, to find him, get him through immigration and bring him home to Stanton Street and the tenement where in two rooms the eight of them lived and worked, sewing the great long, many-buttoned cloaks that were the fashion then. They sent him to school for about six months, figuring he had enough. He never learned how to spell, he never learned how to figure. Then he went right back into the shop. By the time he was 12 he was employing two other boys to sew sleeves on coats alongside him in some basement workshop. KM: He went on the road when he was about 16 I think… selling clothes at a wholesale level. AM: He ended up being the support of the entire family because he started the business in 1921 or something. The Miltex Coat Company, which turned out to be one of the largest manufacturers in this country. See we lived in Manhattan then, on 110th Street facing the Park. It was beautiful apartment up on the sixth floor. KM: We had a chauffeur driven car. The family was wealthy. AM: It was the twenties and I remember our mother and father going to a show every weekend. And coming back Sunday morning and she would be playing the sheet music of the musicals. JM: It was an arranged marriage. But a woman of her ability to be married off to a man who couldn’t read or write… I think Gussie taught him how to read and to sign his name. AM: She knew she was being wasted, I think. But she respected him a lot. And that made up for a little. Until he really crashed, economically. And then she got angry with him. First the chauffeur was let go, then the summer bungalow was discarded, the last of her jewellery had to be pawned or sold. And then another step down - the move to Brooklyn. Not just in the case of my father but every boy I knew. I used to pal around with half a dozen guys and all their fathers were simply blown out of the water. I could not avoid awareness of my mother’s anger at this waning of his powers. A certain sneering contempt for him that filtered through her voice. RM: So how did the way you saw your father change when he lost his money? AM: Terrible… pity for him. Because so much of his authority sprang from the fact that he was a very successful businessman. And he always knew what he as doing. And suddenly: nothin’. He didn’t know where he was. It was absolutely not his fault, it was the Great Crash of the ‘29, ‘30, ‘31 period. So from that I always, I think, contracted the idea that we’re very deeply immersed in political and economic life of the country, of the world. And that these forces end up in the bedroom and they end up in the father and son and father and daughter arrangements. In Death of a Salesman what I was interested in there was what his world and what his life had left him with. What that had done to him? Y’know a guy can’t make a living, he loses his dignity. He loses his male force. And so you tend to make up for it by telling him he's OK anyway. Or else you turn your back on him and leave. All of which helps create integrated plays, incidentally. Where you begin to look: well, its a personality here but what part is being played by impersonal forces?

The behaviour of courtesy and civility is the jewellery of your thoughts and the beauty of your expression.

The Allure of Impeccable Skin Across continents and cultures, from ancient civilisations to today’s digital age, our desire for flawless skin remains as strong as ever. It serves not merely as an emblem of one's outer beauty, but also as a reflection of one's health, vitality, and inner harmony. Although some are fortunate to possess naturally pristine complexions, many of us are in a constant battle with blemishes, each imperfection eroding our confidence and well-being. So today, journey with us as we delve into the timeless beauty standards that have shaped our perceptions of flawless skin, the modern remedies at our disposal, and one woman's gorgeous transformative experience. And if you're wondering where the best place is to achieve such results? Look no further than the exceptional Healand Clinic, a hub for these and many other treatments. Through Time’s Lens Historically, human beings have always been in pursuit of perfect beauty. The Ancient Egyptians, with their kohl-lined eyes and exquisite jewellery, weren't just embracing fashion; they were symbolising societal stature and their adoration of the divine. Similarly, Greeks cherished clear skin, turning to nature's gifts like honey and olive oil to retain youthfulness and fight off skin ailments. Fast forward to today, and with the flood of beauty influencers, trends, and products, the narrative is more nuanced than ever. We've started celebrating 'flaws' be it freckles, scars, or birthmarks. They’re seen as unique identifiers, personal badges of one’s journey. Yet, for some, blemishes become profound sources of insecurity, impacting their daily interactions, self-worth, and even mental health.

People who are different are dangerous, they belong to another tribe; they want our lands and our women. We must marry, have children, reproduce the species. Love is only a small thing,, enough for one person, and any suggestion that the heart might be larger than this is considered perverse. When we marry we are authorized to take possession of the other person, body and soul. We must do jobs we detest because we are part of an organized society and if everyone did what they wanted to do, the world would come to a standstill We must buy jewellery, it identifies us with our tribe, just as body piercing identifies those of a different tribe. We must be amusing at all times and sheer at those who express their real feelings, it is dangerous to a tribe to allow its members to show their feelings. We must at all costs avoid saying "No" because people prefer those who always say "Yes", and this allows us to survive in hostile territory. What other people think is more important than what we feel. Never make a fuss, it might attract the attention of an enemy tribe because you could infect others and destroy something that was extremely difficult to organize in the first place. We must always consider the look of our new cave, and if we don't have a clear idea of our own, then we must call in a decorator who will do his best to show others what good taste we have. We must eat three meals a day, even if we're not hungry, and when we fail to fit in the current ideal of beauty we must fast, even if we're starving. We must dress according to the dictates of fashion, make love whether we feel like it or not, kill in the name of our country's frontiers, wish time away so that retirements comes more quickly, elect politicians, complain about the cost of living, change our hairstyle, criticize anyone who is different, go to a religious service on Sunday, Saturday or Friday , depending on our religion, and there beg for forgiveness for our sins and puff ourselves up with the other tribe who worship another god. Our children must follow in our steps, after all we are older and know about the world. We must have a university degree even if we never get a job in the area of knowledge we were forced to study. We must study things we will never use but which someone told us was important to know: algebra, trigonometry, the code of Hammurabi. We must never make our parents sad, even if this means giving up everything that makes us happy. We must play music quietly, talk quietly, weep in private

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We all slip somewhere near in space, but almost never cross paths. It is a beautiful, well-groomed woman standing at the counter and selling jewellery to you. It is a girl running a flower stall. It is your neighbour who greets you daily in the lift. It is a woman who works with you in an office. It is your French teacher. It is an Instagram girl who moved to live by the sea. It is the girl who sat next to you in the underground. It is a woman who just walked past you on the street. It is a relative with whom you haven't been speaking for ten years. These infertile women are among us. This woman is me.

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Of course, the real reason for the difficulty is that the raw materials that were created for the use and benefit of all have been stolen by a small number, who refuse to allow them to be used for the purposes for which they were intended. This numerically insignificant minority refuse to allow the majority to work and produce the things they need; and what work they do graciously permit to be done is not done with the object of producing the necessaries of life for those who work, but for the purpose of creating profit for their masters. And then, strangest fact of all, the people who find it a hard struggle to live, or who exist in dreadful poverty and sometimes starve, instead of trying to understand the causes of their misery and to find out a remedy themselves, spend all their time applauding the Practical, Sensible, Level-headed Business-men, who bungle and mismanage their affairs, and pay them huge salaries for doing so. Sir Graball D’Encloseland, for instance, was a ‘Secretary of State’ and was paid £5,000 a year. When he first got the job the wages were only a beggarly £2,000, but as he found it impossible to exist on less than £100 a week he decided to raise his salary to that amount; and the foolish people who find it a hard struggle to live paid it willingly, and when they saw the beautiful motor car and the lovely clothes and jewellery he purchased for his wife with the money, and heard the Great Speech he made – telling them how the shortage of everything was caused by Over-production and Foreign Competition, they clapped their hands and went frantic with admiration. Their only regret was that there were no horses attached to the motor car, because if there had been, they could have taken them out and harnessed themselves to it instead.

The behaviour of the courtesy and the civility is the jewellery of your thoughts and the beauty of your expression.

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