feet on marble floor prompts

9 months ago

A hyper-realistic first-person perspective of Cleopatra VII walking through the grand halls of Alexandria’s palace; the viewer’s bare feet stepping onto cool marble floors inlaid with gold and lapis lazuli; golden sandals waiting on a raised step ahead; towering statues of Egyptian gods lining the walls, their gemstone eyes shimmering in the candlelight; advisors and nobles bowing as she passes, whispering in hushed tones; sheer linen curtains billow as a warm desert breeze drifts through the open colonnades; the distant scent of fresh papyrus and burning incense fills the air; cinematic realism, regal Egyptian setting, UHD --ar 9:16 --v 6.1 Negative prompt: ugly, tiling, poorly drawn hands, poorly drawn feet, poorly drawn face, out of frame, extra limbs, disfigured, deformed, body out of frame, blurry, bad anatomy, blurred, watermark, grainy, signature, cut off, draft

9 months ago

A hyper-realistic first-person perspective of Cleopatra VII waking up in her royal chamber; the viewer’s hands stretched out, resting on golden silk sheets embroidered with lotus flowers; bare feet peek out from beneath the covers, brushing against cool marble flooring; towering alabaster columns frame the open balcony, revealing Alexandria bathed in morning light; a servant kneels beside the bed, fanning Cleopatra with palm leaves; a tray of figs, honey, and pomegranates rests on a low table; the scent of burning myrrh drifts through the chamber; cinematic realism, ancient Egyptian luxury, UHD --ar 9:16 --v 6.1 Negative prompt ugly, tiling, poorly drawn hands, poorly drawn feet, poorly drawn face, out of frame, extra limbs, disfigured, deformed, body out of frame, blurry, bad anatomy, blurred, watermark, grainy, signature, cut off, draft

9 months ago

A hyper-realistic first-person perspective of Cleopatra VII waking up in her royal chamber; the viewer’s hands stretched out, resting on golden silk sheets embroidered with lotus flowers; bare feet peek out from beneath the covers, brushing against cool marble flooring; towering alabaster columns frame the open balcony, revealing Alexandria bathed in morning light; a servant kneels beside the bed, fanning Cleopatra with palm leaves; a tray of figs, honey, and pomegranates rests on a low table; the scent of burning myrrh drifts through the chamber; cinematic realism, ancient Egyptian luxury, UHD --ar 9:16 --v 6.1

9 months ago

A hyper-realistic first-person perspective of Cleopatra VII waking up in her royal chamber; the viewer’s bare legs stretched out, resting on golden silk sheets embroidered with lotus flowers; woman's bare feet peek out from beneath the covers, brushing against cool marble flooring; towering alabaster columns frame the open balcony, revealing Alexandria bathed in morning light; a servant kneels beside the bed, fanning Cleopatra with palm leaves; a tray of figs, honey, and pomegranates rests on a low table; the scent of burning myrrh drifts through the chamber; cinematic realism, ancient Egyptian luxury, UHD --ar 9:16 --v 6.1

6 months ago

*A painting in the style of Pieter Jans Saenredam, master of luminous, meticulously detailed 17th-century interiors. The setting is an expansive, vaulted museum hall bathed in soft daylight pouring through high arched windows. The architecture is elegant and austere—clean lines, pale stone, a sense of sacred stillness. Yet this stillness is breaking. Classical marble sculptures—Roman soldiers, Greek gods, Renaissance muses—are in the midst of coming to life. One statue's foot is suspended midair as it steps down from a pedestal; another figure looks directly at the viewer, its stone eyes now animated with expression. Cracks form where rigid limbs are beginning to flex, and fragments of marble flake off to reveal living flesh beneath. On the walls, large oil paintings in sleek black and silver frames are no longer static. Figures inside them are bursting into motion—one canvas shows a woman tearing the painted surface open like a curtain, another depicts a battle scene where soldiers are charging out into the room, their feet and weapons breaching the picture plane. A cherub’s wings flutter outside the frame, casting shadows on the real floor. The boundary between artwork and reality is collapsing, yet the composition holds Saenredam’s restrained geometry, quiet light, and reverent sense of space—making the surreal phenomenon even more hauntingly vivid.

2 months ago

A room in Ancient Rome, 200 feet long, 50 wide with a mosaic floor and immense pillars of marble, and statues.  The ceiling is painted in fresco, in patterns and colours like those on the mosaic floor. The cornices are silver, and decorated with letters formed by precious stones. In the middle is a fountain with streams of water, surrounded by golden aviaries containing birds of all kinds. Three large windows look out on the Adriatic, covered from the outside, with silk curtains of a delicate green shade, which cast a soft, luxurious light over every object. There are about fifty or sixty persons in the room, mostly women. Their black hair tastefully braided is adorned with flowers or precious stones. Their robes are pure white. Some watch the movements of the birds, others speak with courtiers. The men wear gowns are of the lightest rose, violet, or yellow tints. They are playing on the lute, gaming with dice, or teasing their lapdogs.

9 months ago

A hyper-realistic first-person perspective of Cleopatra VII waking up in her royal chamber; the viewer’s hands stretched out, resting on golden silk sheets embroidered with lotus flowers; bare feet peek out from beneath the covers, brushing against cool marble flooring; towering alabaster columns frame the open balcony, revealing Alexandria bathed in morning light; a servant kneels beside the bed, fanning Cleopatra with palm leaves; a tray of figs, honey, and pomegranates rests on a low table; the scent of burning myrrh drifts through the chamber; cinematic realism, ancient Egyptian luxury, UHD --ar 9:16 --v 6.1 **Negative prompts:** extra fingers, unnatural hand shapes, deformed toes, distorted limbs, unrealistic lighting, blurry textures, mutations, robotic elements, uncanny valley effect

6 months ago

*A painting in the style of Pieter Jans Saenredam, master of luminous, meticulously detailed 17th-century interiors. The setting is an expansive, vaulted museum hall bathed in soft daylight pouring through high arched windows. The architecture is elegant and austere—clean lines, pale stone, a sense of sacred stillness. Yet this stillness is breaking. Classical marble sculptures—Roman soldiers, Greek gods, Renaissance muses—are in the midst of coming to life. One statue's foot is suspended midair as it steps down from a pedestal; another figure looks directly at the viewer, its stone eyes now animated with expression. Cracks form where rigid limbs are beginning to flex, and fragments of marble flake off to reveal living flesh beneath. On the walls, large oil paintings in sleek black and silver frames are no longer static. Figures inside them are bursting into motion—one canvas shows a woman tearing the painted surface open like a curtain, another depicts a battle scene where soldiers are charging out into the room, their feet and weapons breaching the picture plane. A cherub’s wings flutter outside the frame, casting shadows on the real floor. The boundary between artwork and reality is collapsing, yet the composition holds Saenredam’s restrained geometry, quiet light, and reverent sense of space—making the surreal phenomenon even more hauntingly vivid.

6 months ago

*A painting in the style of Pieter Jans Saenredam, master of luminous, meticulously detailed 17th-century interiors. The setting is an expansive, vaulted museum hall bathed in soft daylight pouring through high arched windows. The architecture is elegant and austere—clean lines, pale stone, a sense of sacred stillness. Yet this stillness is breaking. Classical marble sculptures—Roman soldiers, Greek gods, Renaissance muses—are in the midst of coming to life. One statue's foot is suspended midair as it steps down from a pedestal; another figure looks directly at the viewer, its stone eyes now animated with expression. Cracks form where rigid limbs are beginning to flex, and fragments of marble flake off to reveal living flesh beneath. On the walls, large oil paintings in sleek black and silver frames are no longer static. Figures inside them are bursting into motion—one canvas shows a woman tearing the painted surface open like a curtain, another depicts a battle scene where soldiers are charging out into the room, their feet and weapons breaching the picture plane. A cherub’s wings flutter outside the frame, casting shadows on the real floor. The boundary between artwork and reality is collapsing, yet the composition holds Saenredam’s restrained geometry, quiet light, and reverent sense of space—making the surreal phenomenon even more hauntingly vivid.