However, the situation is different with more important works, for two main reasons. First, as we shall see, from archaic times onwards leading sculptors worked far from their native cities, and second, the great temples received votive offerings from many different cities, which may have produced and transported the work rather than commissioning it at its destination.
On Delos, for instance, statues given by Naxians stand side by side with statues given by Parians, and only debatable differences of style allow us to distinguish them.
The Value Placed on Sculpture By the Greeks Over and beyond these difficulties, common to all archeological research, the study of Greek sculpture is more specifically subject to a kind of misapprehension quite frequent in Classical studies, which inclines to suppose that what is available to us now was important in Classical antiquity: Pompeii, for instance, was one provincial town among many, and owes its archeological significance solely to its exceptional state of preservation.
The same applies to sculpture, from two points of view, First, we are willing to grant sculpture pre-eminence in Greek art because a great deal of it has survived; yet there are good grounds for thinking that the Greeks themselves ranked painting much higher , and very few paintings have survived.
Above all, in the field of sculpture itself we tend to believe that the items now extant are the very best that were produced.
We take insufficient account of two major losses - of materials that have perished, and of originals by famous sculptors - which can be assessed only by the comparison of the surviving works with the evidence of literary texts.
For a guide to the impact of Greek sculpture and stone art on modern artists and designers, see: The Most Precious Sculptural Materials in Ancient Greece In the first place, some of the materials used in statuary which has perished were those most highly prized by the Greeks.
White marble - from Mount Pentelikos, Paros, Naxos or elsewhere - and stone in general were not as exclusively used as we might be tempted to think from what we see today in our galleries of Classical antiquities.
Greek sculpture employed many other materials. Wood carving was employed chiefly in the erection of very ancient works, mainly the cult statues often called xoana , It was also used for making an extremely famous piece which has not been preserved: The combination of gold and ivory occurs in the technique described from the words for those two materials as chryselephantine, and literary tradition traces its origin back to the beginnings of the Archaic period.
In this technique, a wooden core was overlaid with carved ivory representing flesh, and plates of gold representing clothing. Several cult statues of the Classical period were examples of chryselephantine sculpture , among them the Zeus in the temple at Olympia and the Athena Parthenos in the Parthenon, regarded as the two masterpieces of Phidias.
Then there were other metals: Finally, various plastic materials seem to have been in restricted use: There is no universally accepted hierarchy of the materials used in sculpture, any more than there is of the different arts, but it is unusual for a civilization not to arrange them on a scale of values.
The Greeks had their own scale; they rated chryselephantine most highly - because it was the most expensive and thus rarely used - then bronze, and then possibly wood because of the great antiquity of its use in sculpture.
Marble came after these. Great sculptors did of course carve some of their masterpieces in marble, and Pliny tells us that Praxiteles worked better in marble than bronze, but of the three categories into which Classical sculpture as a whole was divided, marble came last, after chryselephantine and bronze.
This is suggested by its constant use for works of secondary importance: The fact that architectural sculpture was viewed as work of secondary importance often surprises non-specialists.
For instance, we customarily associate the statues on the pediments of the Parthenon and the Panathenaic frieze with the name of Phidias.
However, though Phidias oversaw the construction of the Parthenon, his own contribution was the chryselephantine Athena Parthenos, and there is no evidence that he worked on the architectural decoration of the temple.
In fact it is unusual for Classical authors to give the names of the sculptors of pedimental statues, as they do in crediting those of the temple of Zeus at Olympia to Paionios and Alkamenes - information provided by Pausanias and often disputed by modern scholars, who regard it as retrospective local glorification of the pediments - or in attributing the statue of the temple of Tegea to Skopas.
The names of those men who carved the reliefs on friezes are not given at all. So what is left? Wood is preserved only in very dry or very wet soil, and only a few remnants of wooden sculpture survive, including a large statuette from Samos.
Very little chryselephantine statuary remains: We still have various small ivories and plaques of worked gold, but of the vast chryselephantine statues mentioned and sometimes described in ancient texts, the only parts now exist are three heads and some other life-size Archaic fragments, much restored, which were discovered at Delphi in a trench dug beneath the Sacred Way.
Finally bronze - easy to melt and therefore to re-cycle for other purposes - has largely disappeared. We owe the preservation of bronzes to special circumstances.
The Charioteer of Delphi was found where it had been buried ever since Classical times; the Zeus of Cape Artemisium , the Ephebe of Antikythera and the Ephebe of Marathon , owe their survival only to the shipwreck of the vessels taking them to Rome.
In contrast to the almost total disappearance of any chryselephantine work and the rarity of sculpture using wood and bronze, thousands of marble works fill our museums.
In short, the material most commonly found today was regarded as relatively mediocre in Classical antiquity. Unfortunately for the archaeology of Greek sculpture, the durability of materials is in inverse proportion to their status in ancient times.
How to Appreciate Sculpture. For later works, please see: How to Appreciate Modern Sculpture. Painting of Ancient Greek Sculpture Moreover, we do not usually see extant works as they were in antiquity; colour contrasts have usually been obliterated.
Bronze could be coloured: Pliny tells us that a statue of the Hellenistic period used an alloy of bronze and iron to express blushing shame.
Much earlier however, the Benevento Ephebe , now in the Paris Louvre, had red lips, and other materials were frequently combined with bronze.
The eyes of the Charioteer of Delphi were rendered by white stone inlaid with black stone for the iris, and as an exceptional refinement a strip of silver was inserted between his lips to suggest white teeth.
In a great many cases, the eye is now missing, giving many bronze statues the empty-eyed look so striking in the Benevento Ephebe and the Zeus of Cape Artemisium.
Marble has also suffered. It too was painted: As we shall see, part of the outstanding interest of the Archaic statuary of the Acropolis is that it offers factual evidence about the archeologically delicate problem of polychrome statuary.
But the great majority of marble sculptures have lost the paint which partly covered them. They have also lost their bronze attachments for which our only evidence is now the mortises where they were fixed in place, visible on works as diverse as the Naxian Colossus of Delos , the friezes of the Siphnian Treasury at Delphi, and the funerary stele of Dexileos.
The Disappearance of Original Greek Sculptures Our second loss - linked in part to the first, since it is often connected with chryselephantine and bronze statues - is that of originals by famous sculptors: For instance, when a book shows a photograph of Diskobolos by Myron , the lay reader is not always aware that this is not the 5th-century bronze made by the sculptor himself.
The loss of so much sculpture is particularly detrimental because it does not fit the pattern of random loss common to ancient art forms.
The more ancient a body of works of art, the fewer surviving pieces will there be, but what is preserved will be a representative sample of its culture.
Alas, in the field of Greek sculpture, entire areas are almost wholly unknown to us. In this unfortunate situation, the total loss of original works by famous sculptors has very specific methodological implications.
Whether the texts of Classical antiquity merely reflected the fame of those sculptors, or whether they partly created it, the fact remains that their authors were interested only in the artists; the history of Greek sculpture as written in ancient times is basically a history of Greek sculptors.
This is not surprising: In the case of art, however, a concept of Romantic origin has now taken over from the concentration on notable personalities customary in antiquity.
Whereas studio collaboration was the norm in earlier times, this Romantic concept emphasizes solitary creativity, and it again reduces the history of art to a history of artists.
This practice is questionable. We have, in general, no reason to think that the study of individual artists is the best way of studying an art.
In the case of Greek sculpture in particular, it is especially pointless to concentrate on a completely insoluble problem, for we know nothing about these great artists, and accounts of Alkamenes or Phidias depend on the construction of unverifiable hypotheses from scraps of text which are often almost unintelligible, and on sculptural copies of uncertain fidelity.
Types of Sculpture in Ancient Greece: Statues and Reliefs The single modern word sculpture in reality encompasses two different arts; similarly, in ancient Greek, words of the glyphein family designate any form of carving and words of the graphein family any form of drawing.
On the one hand we have sculpture in the round: On the other hand we have relief work, in which the sculpted forms are a fixed part of the block or plaque which constitutes their background.
Here, angles of vision only move through degrees, since after that all we can see is the back of the work. The relief carving may be of greater or lesser depth, and the difference is often described in terms of "high" and "low" relief.
However, it might be better to use those terms for a more important technical distinction. In what is called the "sunken relief" of Egyptian art - but might more appropriately be called "low relief" - the figures are often on the same plane as the background or carved deeply into it.
An excellent example of high-relief is the Pergamon Altar of Zeus c. In Greece, however, the figures were never carved into the background.
Understood in this way, relief includes more genres than are covered by the term "sculpture"; relief actually includes "sculpture", coins and pottery with moulded or applique ornamentation.
We shall not be discussing such genres here, for reasons of space, but this extension of the category of "relief" does point up the technical diversity of the methods used to produce it.
Whereas marble relief was carved with a chisel, relief work on coins was stamped on metal, and ceramic relief was either moulded with the vessel itself or applied to its side later.
Applique is found just once in marble relief, on the frieze of the Erechtheion on the Acropolis in Athens, where figures of white marble were attached to the bluish background of the frieze, in a striking effect of contrasting colours.
Of course it is their common features that enable us to embrace the two distinct arts of sculpture in the round and relief-work in the single term "sculpture".
These features are fundamentally technical: They are carved, not drawn, and exploit the third dimension. Statuary and relief work were also related in their use of the materials and tools; they were carved in the same marble, with the same kind of chisel, by means of similar manual skills, or they were cast in the same bronze.
There may also have been common sociological ground between the two crafts. Unfortunately we are not well enough informed about the professional organization of Greek sculpture to know whether the men who made sculpture in the round also made reliefs.
There is also a thematic relationship. Our own contemporary art has taught us that sculpture in the round need not represent a human figure.
Greek art can easily give us the impression that sculpture and figurative statuary were one and the same thing. It is true that the human figure.
However, the Greek column, for example, although traditionally regarded as architecture, may also be seen as a piece of non-figurative sculpture in the round when it is carved from top to bottom and left standing in isolation as a pedestal or votive offering.
Similarly, relief work is not confined to scenes with human figures, but may present geometrical motifs, particularly on building, where such features as the regular, the triglyph and the mutule appear - or sometimes it may be incorporated into the ornamentation of mouldings or door frames with ovolo patterns, roundels, palmettes and rosettes.
The two kinds of sculpture, statuary and relief work, are closely related by their use of the materials as well as by their subject matter.
Throughout Classical antiquity, marble statues are found standing on bases also made of marble, the sides of which often bear relief work.
Statues and reliefs could also alternate with each other, for instance in pediments: Standing over thirty feet from the ground on the front of the pediment wall, however, where no one could observe them from behind, such statues were actually in a position better suited to relief.
Although at first they were fully sculpted, for instance in the temple of Zeus at Olympia or in the Parthenon, it is hardly surprising that the unseen back parts of the statues came to be neglected in the fourth century BCE, as at the temples of Delphi and Tegea.
An interesting relationship between statuary and relief is the transcription of the same subject from one genre to the other.
However, transcription from relief to statuary is in fact very rare; far more frequent is the move from statue to relief, as we shall see in those ceramic or numismatic reliefs that illustrate statues now lost.
It is not difficult to find reasons for this one-way traffic: Relief work can present one or several people against a background which will accommodate accessories or landscape features, and is suited to showing a very precise scene, such as the centauromachies or Amazonomachies battles with centaurs and Amazons from various temples, the Panathenaic procession on the Parthenon, the farewells of a dead person to his family on funerary stelai, as well as less challenging scenes: Sculpture in the round, on the other hand, is suited to the depiction of an isolated figure but has very little narrative potential, unless it resorts to the formula of the so-called "statuary group".
This term is an ambiguous expression designating two very different technical procedures: In short, the isolation of figures sculpted in the round and the incorporation of figures in relief work into their background, combined with the different iconographic possibilities that result from this, make for very distinct genres.
Nor are the relationships of the two genres with the other arts necessarily the same. Relief stands firmly with painting from at least two points of view.
First, it shares with painting a certain similarity of procedures and iconography. When the 6th century sculptor of the metope on the Sicyonian Treasury at Delphi depicted a cattle raid and wanted to depict several cattle walking forward in profile, he was faced with a problem that also confronted contemporary vase painters, and solved it as they did.
He moved the animals slightly out of alignment so that their legs were not superimposed but formed parallel lines. Also in the 6th century, painted inscriptions on vases identified the characters depicted: These inscriptions are now obliterated, but a special photographic technique has recently allowed us to read them.
Iconographically also, relief work, because it too shows figures against a background, draws naturally on the same repertory as painting: Secondly, relief alternated with painting on items such as vases.
We think primarily of "painted" vases, which constitute a majority, but we should not forget that ceramic relief had an important role in vase decoration, particularly during the Archaic period in such works as the vase showing the Trojan horse discovered at Myconos and the Hellenistic period.
Painting also alternates with architectural relief. The oldest example dates from the seventh century BCE and comes from the metopes of the temple of Thermos, which are plaques of painted terracotta showing Perseus, Orion, Chelidon, etc.
All later temples had their metopes in relief work. Alternation was equally common in funerary art: We simply happen to have relatively few of them, for the usual reason that painting can not withstand the ravages of time and is obliterated or very indistinct unless special circumstances have preserved it for us; this is the case with the stelai now in the Volos Museum, which were re-used in a fortification not many years after they were made.
Relief and painting are related in showing figures against a background, statuary is related to architecture. It was pointed out above that statue and column are basically both rounded plastic forms, one figurative and the other not.
In fact statues sometimes replaced columns in the architectonic function of supports for an entablature, under names which became traditional and are known to us from authors of the Hellenistic and Roman periods.
They describe masculine statues as "atlantes", with reference to the myth of Atlas who carried the world on his shoulders, or as "telamons", meaning simply "supports", while feminine statues were called "caryatids", literally "women of Caryae", a city in Laconia.
This term has never been fully explained, and in the fifth century the administrators of the building works on the Acropolis called the caryatids of the porch of the Erechtheion just "korai" "young girls".
At least two monuments of the last quarter of the 5th century, one of them the Siphnian Treasury at Delphi, had two caryatids where similar buildings usually had columns, and there were two sets of twelve atlantes in the Temple of Olympian Zeus at Akragas modern Agrigento at the beginning of the 5th century.
The practice of using such figures was never abandoned, and it was imitated in the middle of the Imperial period by a caryatid from Eleusis, the tritons of the Odeon of Agrippa in the agora at Athens, and the barbarian prisoners in a monumental facade at Corinth.
Although the texts and the monuments which have survived give us a full idea of the materials used in sculpture, they tell us little about the methods of working them.
Classical literature provides almost no information on the subject, and votive inscriptions still less; finds of tools are rare, and so are depictions of sculptors at work.
And it is not easy to interpret the depictions that do exist. For instance, the bottom of a cup now in Copenhagen, dating from the earliest period of red-figure pottery late sixth to the early fifth century , shows a sculptor carving a herm, and the two outer sides of a cup now in Berlin depict several bronzesmiths working around a furnace, while others are finishing off a large statue.
Such sparse information is complemented chiefly by what study of the works themselves can tell us. Moreover, technique varied from period to period.
We know that solid bronze casting and hammering was the practice in ancient times, and that subsequently the technique known as cire perdue or "lost wax" casting became widespread - some of the moulds used in casting have survived.
The completed work was then artificially patinated. As for the techniques of working stone, particularly marble, the unfinished sculptures which have come down to us in considerable numbers - such as the relief from a house at Delos - retain tool marks and so provide information about the intermediate stages of carving.
Many examples throughout antiquity show that it was common to use additional sections for projecting parts such as outstretched arms as with the Archaic korai of the Acropolis or the male organ.
Work in marble was finished by polishing with wax or encaustic, a process called ganosis, in the same way as bronzes were finished by patination.
Even in Archaic times sculptors were very skilful: We may set beside this the famous achievement of Telekles and Theodoros, who made the statue of Pythian Apollo at Samos in two halves, fitting them together when they had finished the work.
The sculptor does not simply practise an art - in sociological terms he also exercises a craft. Here again there are great gaps in our knowledge.
We may assume that it was not Phidias's own idea to create the chryselephantine statue of Zeus at Olympia; dedications regularly confirm that patrons commissioned works, although the details of the procedure are usually vague.
We do not often get even as much information as is provided by a decree of Delos in the third century, which tells us that "Telesinos of Athens was commissioned by the people to make the statues of Asklepios and Queen Stratonice, and he made the people a present of them, having executed the statue of Asklepios in bronze and the statue of the Queen in marble, and at no charge he also saw to the preservation and restoration of all the statues in the sanctuary which required it.
Literary tradition mentions several competitions: The artists who competed gave Polyclitus the verdict over Phidias and Kresilas, and on that basis modern criticism rather fruitlessly endeavours to attribute the wounded Amazons in our museums to one or other of those sculptors.
Similarly, the story goes that Phidias and Alkamenes were each required to make an Athena to stand on a tall column.
To correct the optical effect such a height would produce, Phidias gave the goddess a large head which shocked viewers when they first saw it, while Alkamencs, respecting the natural proportions of the body, drew high praise at first, but then laughter when his statue was put in place on top of its column.
These stories of rivalry, however authentic, are complemented by accounts of collaboration; the most famous case is the Mausoleum which Artemisia, wife of the Carian ruler Mausolos, commissioned at Halikarnassos mid-4th-century BCE.
Pliny tells us that Skopas, Bryaxis, Timotheos and Leochares worked together on the carving of its decoration. Skopas was from Paros and the other three sculptors were from Athens.
In all the cases just cited, we find sculptors working outside their native cities. Votive dedications confirm this mobility: For instance, we have seven signatures of Thoinias who describes himself as from Sicyon: However, it was not essential to travel: This was because Delos had a large, prosperous population, providing sufficient custom.
Sculptural Commissions in Ancient Greece Getting commissions was the important factor. The market had its ups and downs.
The great building works eventually undertaken by Pericles on the Acropolis after its total destruction by the Persians in BCE are a good illustration.
The accounts of the expenses for the Erechtheion frieze have come down to us, engraved on marble; they describe the payment of fees to sculptors for carving various additional figures, as follows: The accounts go on for several columns.
But work on this scale could not last indefinitely, and in any case the decline of Athens, sucked dry by the Peloponnesian War, put an end to it. All those obscure sculptors whose pay is recorded in the accounts were now out of work, and it is very probable that they had recourse to what we might now call "retraining": Sculptors employed on public works had to switch over to the private sector, and it seems likely that pressure from such unemployed craftsmen contributed to a disregard for the sumptuary law which the piety or vanity of the bereaved in any case predisposed them to infringe.
If so, it is not surprising that the funerary stele of Dexileos rivals the reliefs of horsemen on the Panathenaic frieze.
Commissions mean fees, but again, there is very little information about sculptors' financial status. However, the pay seems quite good if we remember that 60 drachmae for a statue is times the sum of the two obols paid at the same period to judges as their daily fee.
It is true that the judges' fee must have been very low, since it was also the daily allowance made to the needy a little later.
But in the next century Menander says that a man can live on twelve drachmae for a month and six days. Famous sculptors must have been in very comfortable circumstances; even a man like Telesinos, unknown to us from any source but the single decree cited above, was in a position to make the Delians a present of the two statues they had commissioned from him and throw in further restoration works, also at no charge.
The same applies to the Mausoleum of Halikarnassus: Pliny tells us that "the queen died before the work was finished" but that Skopas, Bryaxis, Timotheos and Leochares "did not, however, leave until their work was finished, believing that it would be a memorial to their glory and their art", which suggests that they were working for nothing.
At around the same time, however, Plato reports Socrates as saying that the sophist "Protagoras had earned far more money than Phidias and ten other sculptors put together".
The Social Rank of Sculptors in Ancient Greece As for the social status of sculptors, it must have varied from one individual to another: We need to know more about the social circles frequented by sculptors, but it is noteworthy that Plato, not a lover of the imitative arts, allows both sculptors and painters, whose position in society was certainly a comfortable one, to occupy the sixth rank of the social hierarchy, instead of relegating them to the seventh rank with other manual workers.
And yet they still seem to have been regarded as manual workers. Sculptors, or at least the makers of statues, may not have had a desirable position in society as a whole, but they seem to have enjoyed high status among artists.
The artistic hierarchy is well illustrated by the use of signatures, reflecting the status and renown not only of the signatory himself but of his entire professional category.
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Isotopes refer to varieties of chemical elements that have the same number of protons, but different numbers of neutrons. Two isotopes behave the same chemically.
And if both moon and Earth have very similar isotopes, it makes the capture theory difficult to maintain, said Alex Halliday, head of science at Oxford University.
Such isotopic similarities suggest that "the material that makes up the moon did actually either come out of the Earth, or that the stuff that was in the disk that formed the moon got completely mixed up with the stuff in the Earth.
Nonetheless, some aspects of the idea that the moon may have come from Venus are intriguing, he said. They have similar mass, and people think they have probably formed in a similar way," he said.
Stevenson's idea would answer that question, Halliday said, "throwing a new twist into the whole capture theory.
There are many theories for what might have caused such a large moon for a planet as small as Earth. The most popular theory assumes an impact, where the debris of the collision — a mix of the material from Earth and the other body — gave birth to the moon.
This body then stayed in orbit about the Earth, forever bound to its new home. Another posits that the moon "fissioned" from the Earth's crust and mantle due to the centrifugal force of a rapidly spinning early Earth.
Another theory, called binary accretion, assumes that the moon was born at the same time and place as Earth.
The biggest flaw of the fission, capture and binary accretion theories is that they cannot account for the high angular momentum of the Earth-moon system.
Scientists believe that initially the Earth was spinning so rapidly that a day lasted only five or six hours, and the moon was in a very low-altitude orbit.
But gradually, tidal drag slowed the Earth's spin and pushed the moon's orbit up to its present level. The capture theory will always face a challenge explaining the similar composition of the moon and Earth, Stevenson said.
But if scientists analyze rocks from Venus and they turn out to be very similar to those on Earth, that would argue in favor of the capture theory.
The giant impact idea also has trouble explaining why the Earth and the moon are so peculiarly similar. Even though he himself favors the impact theory, Stevenson said he picked Venus for a larger purpose.
If Venus indeed once had a moon and lost it, how might the planet have acquired a satellite in the first place? I am in heaven and he is right there with me.
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That might steer her in that direction. Hopefully that will satisfy your curiosity for a little while…. Here are a few stories about my adventures.
In June I had a cuck come to meet me here in Vancouver. He was a nice guy and we got along well. We went out to restaurants, rented a boat and spent the afternoon on the water.
I had been talking to a tall black guy from LA that day who happened to be in Vancouver. So I arranged to have him show up at the bar we were going to be in later that night.
I kept it secret from the cuck. We were sitting at the bar when I saw him walk in, tall black and beautiful. He walked over, I gave him a kiss and turned to my cuck and told him to buy him a drink.
My cuck just looked at me and smiled. In the room I told him to sit and watch while my black bull did whatever he wanted to me.
Then I told him to clean it all up. I kissed my bull goodbye and he left. The sheets were a wet mess so I made him sleep on that side of the bed.
Also in June, I was having visits by a 21 year old white boy who lives here in Vancouver. He has a foot fetish so I let him worship my feet and my ass.
He massages my feet, kisses my pedicured toes, and I stand above him and slide my pretty little feet as far down his throat as possible.
I told him he better do something about that because at 21 he was getting a little old for that and it would become something awkward.
He said he was saving it for a girl who he really liked. His future girlfriends will thank me. July was a girls trip to Las Vegas and my oh my…there are a lot of beautiful black men there and we certainly sampled a few of them.
Over the summer I reconnected with some cucks from my past, only to be disappointed yet again by their flakiness and all talk and no action kind of behavior.
In August I went to Southern Georgia with one of my black guys and had a nice relaxing vacation with loads of incredible sex.
Actually I really just want that every day…. For my flight home I had one of my submissive white guy friends pick me up from the airport and I stayed at his apartment that night.
I was exhausted from a full day of flights but I let him bury his face in my pussy as I laid back and watched my favorite BBC porn, then repeat it again the next morning.
He did everything I wanted him to do for me. Such a good boy. This past weekend I had a new black guy from Seattle come to see me and he fucked me so good and I loved feeling his BBC slide down the back of my throat.
But what really pisses me off is how many times I get pursued by guys who are fucking married! Lying, cheating assholes and a complete waste of my time.
Finding love is hard enough, aligning your kinks is even harder, so guys please stop this shitty behavior. Skip to content How do I get my wife into this?
Venus xo Share this: Next level love It can be hard to imagine love on a whole other level but believe me when I say this kind of relationship is intoxicating, magical, and intense far beyond what you could ever cultivate in a vanilla relationship.
Trust Initially it may be hard to believe but trust grows and flourishes in this kind of dynamic but cuckolding actually makes the trust stronger between both of you especially over time.
Your happiness is his happiness This is pretty much all about you. Peace Venus xo Share this: For all of you single cucks out there — this post is for you.
I need to be attracted to the person I want to spend the rest of my life with so please at least attach a photo or description of yourself when you introduce yourself.
This is just going to piss me off. Do not get so whipped up into a frenzy with all of the cuckolding chat that you forget about the relationship part.
This happens all too often. Do not ask me for pictures and videos. Spell correctly and use proper grammar. Go read some books or something.
Telling me that you want to buy me lingerie so that I can wear it for black guys is not going to get me excited.
While I appreciate the offer and I have received a shit load of offers , this is not so much a gift for me as it is a gift for yourself so you can jerk off to the thought of it.
How about you find out what it is that I truly need or want and do it just because you want to make me happy? This kind of relationship is hugely built on trust and lying to me, even about something small, right in the beginning is not going to sit well with me.
Be prepared to do your homework, talk on the phone, and meet in person. What I want for my wedding night BBC gangbang — in detail. Do women naturally become more cruel and selfish and men more submissive and eager to please?