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C.S. Lewis Song - Brooke Fraser

(Source: worshipgifs)

592 notes

death-is-a—promise:

Untitled | via Tumblr on We Heart It.

death-is-a—promise:

Untitled | via Tumblr on We Heart It.

(via onedayitwontbeaday)

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God is Love

1 John 3:16 NIV
This is how we know what love is: Jesus Christ laid down his life for us. And we ought to lay down our lives for our brothers and sisters.

1 John 4:16 NIV
And so we know and rely on the love God has for us. God is love. Whoever lives in love lives in God, and God in them.

1 John 4:18 NIV
There is no fear in love. But perfect love drives out fear, because fear has to do with punishment. The one who fears is not made perfect in love.

John 14:23 NIV
Jesus replied, “Anyone who loves me will obey my teaching. My Father will love them, and we will come to them and make our home with them.

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Watch ""The Final Speech" | @_AnthonyLee_ Choreography -…" on YouTube

"The Final Speech" | @_AnthonyLee_ Choreography -…:

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(Source: an0therking, via themountainlaurel)

7,469 notes

(Source: goodwinmacalister, via themountainlaurel)

7,662 notes

blancfiore:

Phase It, and Bow Ties Are Cool Now Available!

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llbwwb:

Napping by Shawn Zion

llbwwb:

Napping by Shawn Zion

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kameliendame:


Dorothée Gilbert and Marcelo Gomez in Romeo and Juliet
ph. James Bort

What makes him such a good partner?
"It’s his feeling for the ballerina’s balance. He knows exactly where you will feel good and look good too. That’s not a technical skill you can learn. Either you have it or you don’t. Of course, he’s also very strong, so that all the lifts are good. But he has something special for your balance. It’s really a rare talent and Manuel LeGris at the Paris Opera also has it a little. And when you dance with Marcelo, it’s a pleasure because you don’t have to tell him: “a little bit more in front … a little bit more in the back.” He just feels it and you’re where you want to be and need to be, so it’s all very easy."
[source]

kameliendame:

Dorothée Gilbert and Marcelo Gomez in Romeo and Juliet

ph. James Bort

What makes him such a good partner?

"It’s his feeling for the ballerina’s balance. He knows exactly where you will feel good and look good too. That’s not a technical skill you can learn. Either you have it or you don’t. Of course, he’s also very strong, so that all the lifts are good. But he has something special for your balance. It’s really a rare talent and Manuel LeGris at the Paris Opera also has it a little. And when you dance with Marcelo, it’s a pleasure because you don’t have to tell him: “a little bit more in front … a little bit more in the back.” He just feels it and you’re where you want to be and need to be, so it’s all very easy."
[source]

(via cloudyruminations)

270 notes

athenagracee:

making flower crowns for a beautiful shoot for the next issue of MICI Magazine with my darling friend Jay, whose creativity always astounds me. can’t wait to share with you the images.

instagram: @athenagracee / fujixT1 / Julia Trotti ‘London' Preset

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athenagracee:

b e l o v e d |

He calls us beloved. Is that not more wonderful than all the praises of man?
T.B. LaBerge // Go Now.

instagram: @athenagracee / iphone 5s / edited with Julia Trotti London LR4 preset

athenagracee:

b e l o v e d |

He calls us beloved. Is that not more wonderful than all the praises of man?

T.B. LaBerge // Go Now.

instagram: @athenagracee / iphone 5s / edited with Julia Trotti London LR4 preset

93 notes

athenagracee:

As Christians we are called to be like Lucy to the world; to step out in faith through a wardrobe and open our eyes to the Kingdom of God. To defend what we’ve seen and heard, though everyone around us, even our own families, think we are liars or lunatics. To stand by the lamppost and point to the wonders and joys of the gospel, to paint a picture with our words and deeds of the glorious love of Jesus.

Every day I want to be someone’s Lucy.

Lucy and Edmund from “The Lion, the Witch and the Wardrobe,” by CS Lewis drawn by my beautiful friend Jacqueline Kay, whose creativity amazes me.

instagram: @athenagracee

shot on the Fujifilm xT1 and edited with Julia Trotti’s London LR4 preset.

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