James Lucas's banner

James Lucas

@JamesLucasIT • 805,554 subscribers

Beauty is truth, truth beauty; that is all ye know on earth, and all ye need to know.

Shorts

A Roman emperor ate his meals in a sea cave, a few feet from a massive marble sculpture of the moment Odysseus blinds the Cyclops. Eventually it lay shattered in thousands of pieces on the floor of that cave, and stayed there until 1957... The emperor was Tiberius, who ruled Rome after Augustus, and the cave is at Sperlonga, on the coast between Rome and Naples. It was a natural grotto opening onto the sea, and he turned it into a private dining hall, with pools of water reaching into the mouth of the cave and a platform where he and his guests reclined to eat, the waves echoing off the rock around them... Definitely not a bad place to host dinner. The sculpture stood at the deepest point of the cave and it showed the most terrifying scene in Homer's poem, when Odysseus and his men are trapped inside the cave of Polyphemus, a one-eyed man-eating giant who has sealed them in with a boulder too heavy to move and is eating the crew alive, one by one. Odysseus cannot simply kill him in his sleep, or they will be entombed with the corpse forever. So he gets the giant drunk, waits for him to pass out, hardens the tip of an olive-wood stake in the fire, and drives it into the Cyclops's single eye. The sculptors depicted the instant just before the stake goes in... The colossal figure of Polyphemus sprawls backward, drunk and unaware. Odysseus, the one closest to the Cyclops, and three of his men strain upward with the spike. It was carved larger than life and set in shadow at the back of the grotto, so that as the lamplight shifted, the whole scene seemed to move over the emperor's dinner. The Roman historians Tacitus and Suetonius both record that in the year 26 AD, while Tiberius was dining there, rocks fell from the roof of the grotto, crushing several of his attendants and nearly killing the emperor, who was shielded and dragged out. In that collapse, or in a later one, the great marble scenes were smashed into thousands of fragments. There they lay, at the bottom of the cave, until 1957, when workers building a coastal road cut into the ground and found them. Among the rubble they pulled out the colossal head of the giant himself, and slowly, piece by piece, the scene was put back together. The cave gave up two more secrets: the first was an inscription, ten lines of Latin verse, praising the grotto and saying that only a new Virgil could do justice to its statues of Scylla and the blinding of the monster by the man from Ithaca. It told the archaeologists exactly what they had found. The second was carved into the base of the neighbouring ship: three names, Athenodoros, Agesander, and Polydorus, the same sculptors the Roman writer Pliny had named as the creators of the Laocoön, the statue I wrote about yesterday. Homer's Odyssey is one of the oldest stories in the world, and it has outlived the emperor, the civilization that first told it, and every person who has ever loved it. Nearly three thousand years later, we are still telling the story of a man lost far from home, because some part of us always is... I started my newsletter because the past is full of stories like this one, and so few people ever stop to tell us why they matter. Every week I try to. If that is something you'd like to be part of, you can join through the link in my bio, and if you'd like to support my work, a paid subscription is what makes it possible. Thanks for reading.

A Roman emperor ate his meals in a sea cave, a few feet from a massive marble sculpture of the moment Odysseus blinds the Cyclops. Eventually it lay shattered in thousands of pieces on the floor of that cave, and stayed there until 1957... The emperor was Tiberius, who ruled Rome after Augustus, and the cave is at Sperlonga, on the coast between Rome and Naples. It was a natural grotto opening onto the sea, and he turned it into a private dining hall, with pools of water reaching into the mouth of the cave and a platform where he and his guests reclined to eat, the waves echoing off the rock around them... Definitely not a bad place to host dinner. The sculpture stood at the deepest point of the cave and it showed the most terrifying scene in Homer's poem, when Odysseus and his men are trapped inside the cave of Polyphemus, a one-eyed man-eating giant who has sealed them in with a boulder too heavy to move and is eating the crew alive, one by one. Odysseus cannot simply kill him in his sleep, or they will be entombed with the corpse forever. So he gets the giant drunk, waits for him to pass out, hardens the tip of an olive-wood stake in the fire, and drives it into the Cyclops's single eye. The sculptors depicted the instant just before the stake goes in... The colossal figure of Polyphemus sprawls backward, drunk and unaware. Odysseus, the one closest to the Cyclops, and three of his men strain upward with the spike. It was carved larger than life and set in shadow at the back of the grotto, so that as the lamplight shifted, the whole scene seemed to move over the emperor's dinner. The Roman historians Tacitus and Suetonius both record that in the year 26 AD, while Tiberius was dining there, rocks fell from the roof of the grotto, crushing several of his attendants and nearly killing the emperor, who was shielded and dragged out. In that collapse, or in a later one, the great marble scenes were smashed into thousands of fragments. There they lay, at the bottom of the cave, until 1957, when workers building a coastal road cut into the ground and found them. Among the rubble they pulled out the colossal head of the giant himself, and slowly, piece by piece, the scene was put back together. The cave gave up two more secrets: the first was an inscription, ten lines of Latin verse, praising the grotto and saying that only a new Virgil could do justice to its statues of Scylla and the blinding of the monster by the man from Ithaca. It told the archaeologists exactly what they had found. The second was carved into the base of the neighbouring ship: three names, Athenodoros, Agesander, and Polydorus, the same sculptors the Roman writer Pliny had named as the creators of the Laocoön, the statue I wrote about yesterday. Homer's Odyssey is one of the oldest stories in the world, and it has outlived the emperor, the civilization that first told it, and every person who has ever loved it. Nearly three thousand years later, we are still telling the story of a man lost far from home, because some part of us always is... I started my newsletter because the past is full of stories like this one, and so few people ever stop to tell us why they matter. Every week I try to. If that is something you'd like to be part of, you can join through the link in my bio, and if you'd like to support my work, a paid subscription is what makes it possible. Thanks for reading.

344,878 次观看

This is a statue of the only man in Troy who saw the trap. He tried to warn everyone, and this is what the gods did to him because of it... His name was Laocoön, a Trojan priest. When the Greek army vanished and left a giant wooden horse outside the city gates, all of Troy celebrated. Only Laocoön refused to believe it. He warned his people the horse was a trick and, to prove it was hollow, hurled his spear into its side. In Virgil's telling, he spoke a line that has outlasted almost everything else about Troy: "I fear the Greeks, even when they bring gifts." He was right. The horse was packed with soldiers, and Troy was hours from destruction. This sculpture shows what he got for it. Two enormous sea serpents rise out of the sea and coil around him and his young sons, dragging all three down together. The father's whole body is knotted in the struggle, every muscle straining, his face locked in a scream. The gods wanted Troy to fall, and Laocoön was in the way. The Trojans watched him die in agony and drew exactly the wrong conclusion: they decided the gods were punishing him for attacking a holy gift. So they pulled the horse inside their own walls, and that night, Troy burned... The statue is called Laocoön and His Sons. It is the work of three Greek sculptors from the island of Rhodes, Agesander, Athenodoros, and Polydorus, and dates to the Hellenistic period, making it well over two thousand years old. Buried for more than a thousand years, it was dug out of a Roman vineyard in 1506, and Michelangelo rushed across Rome to see it the day it was found. It has been called the single greatest depiction of human suffering in the history of art, but it endures because of what it is really about: the man who sees the truth, says it out loud, and is destroyed for being right while the crowd watches... It is one of the oldest patterns there is, and it has never stopped repeating. There is nothing new under the sun.

This is a statue of the only man in Troy who saw the trap. He tried to warn everyone, and this is what the gods did to him because of it... His name was Laocoön, a Trojan priest. When the Greek army vanished and left a giant wooden horse outside the city gates, all of Troy celebrated. Only Laocoön refused to believe it. He warned his people the horse was a trick and, to prove it was hollow, hurled his spear into its side. In Virgil's telling, he spoke a line that has outlasted almost everything else about Troy: "I fear the Greeks, even when they bring gifts." He was right. The horse was packed with soldiers, and Troy was hours from destruction. This sculpture shows what he got for it. Two enormous sea serpents rise out of the sea and coil around him and his young sons, dragging all three down together. The father's whole body is knotted in the struggle, every muscle straining, his face locked in a scream. The gods wanted Troy to fall, and Laocoön was in the way. The Trojans watched him die in agony and drew exactly the wrong conclusion: they decided the gods were punishing him for attacking a holy gift. So they pulled the horse inside their own walls, and that night, Troy burned... The statue is called Laocoön and His Sons. It is the work of three Greek sculptors from the island of Rhodes, Agesander, Athenodoros, and Polydorus, and dates to the Hellenistic period, making it well over two thousand years old. Buried for more than a thousand years, it was dug out of a Roman vineyard in 1506, and Michelangelo rushed across Rome to see it the day it was found. It has been called the single greatest depiction of human suffering in the history of art, but it endures because of what it is really about: the man who sees the truth, says it out loud, and is destroyed for being right while the crowd watches... It is one of the oldest patterns there is, and it has never stopped repeating. There is nothing new under the sun.

483,348 次观看

The most famous keyhole in Rome Through the Aventine Keyhole, you’ll see a perfectly framed view of St. Peter’s Basilica, aligned through the beautiful gardens of the Priory of the Knights of Malta.

The most famous keyhole in Rome Through the Aventine Keyhole, you’ll see a perfectly framed view of St. Peter’s Basilica, aligned through the beautiful gardens of the Priory of the Knights of Malta.

25,750,967 次观看

Penguin leaps to safety as ice breaks

Penguin leaps to safety as ice breaks

9,624,116 次观看

This is the only existing footage of Mark Twain. It was filmed in 1909, and within a year, he was gone... The man walking there, in the white suit with the cigar, and sitting outside at a table with his two daughters, is Samuel Clemens, the legendary writer the world knew as Mark Twain. By 1909 he was one of the most famous men alive. The footage was shot by Thomas Edison himself, who visited Twain at Stormfield, his home in Redding, Connecticut. It is in black and white, it flickers with age, and it is the only known film of Twain ever made. The father of American literature has been gone for more than a century, but here, for a few flickering seconds, he is still alive.

This is the only existing footage of Mark Twain. It was filmed in 1909, and within a year, he was gone... The man walking there, in the white suit with the cigar, and sitting outside at a table with his two daughters, is Samuel Clemens, the legendary writer the world knew as Mark Twain. By 1909 he was one of the most famous men alive. The footage was shot by Thomas Edison himself, who visited Twain at Stormfield, his home in Redding, Connecticut. It is in black and white, it flickers with age, and it is the only known film of Twain ever made. The father of American literature has been gone for more than a century, but here, for a few flickering seconds, he is still alive.

449,458 次观看

Colorized footage is like a time machine 🧵 1. English kids in 1901, 124 years ago

Sensitive content

Colorized footage is like a time machine 🧵 1. English kids in 1901, 124 years ago

24,549,292 次观看

Here's what the world looked like a century ago - thread 🧵 1. Kids on the streets of England in 1901

Sensitive content

Here's what the world looked like a century ago - thread 🧵 1. Kids on the streets of England in 1901

32,242,158 次观看

Thread of the most surreal sky phenomena ever caught on camera 🧵 1. The coolest meteor video ever

Thread of the most surreal sky phenomena ever caught on camera 🧵 1. The coolest meteor video ever

22,546,345 次观看

This is the Devil’s footprint It is one of Germany's most famous legends: when Munich’s Frauenkirche was being built in the 15th century, the architect made a deal with the Devil. The church would be funded... but only on one condition: it could have no windows. When construction was finished, the Devil stood at a precise spot near the entrance and saw nothing but bare walls. Convinced he had won, he stomped his foot into the floor so hard that it left the dark imprint visitors still see today. But when he stepped forward, he discovered the truth. The "windowless" church was an illusion, created by perfectly positioned columns that hid the stained glass windows from his view. Realizing he had been tricked, the Devil fled in fury, leaving only his scorched footprint behind. Some ghost tours in Munich add even more to the myth. Guides claim the air near the entrance is strangely cold, as if the Devil still circles the church, searching for a way back in. In winter, they say, the snow at the doorway is always last to melt. History tells us it's just a legend... but the footprint is real, the illusion is real, and the story continues to haunt the cathedral to this day.

This is the Devil’s footprint It is one of Germany's most famous legends: when Munich’s Frauenkirche was being built in the 15th century, the architect made a deal with the Devil. The church would be funded... but only on one condition: it could have no windows. When construction was finished, the Devil stood at a precise spot near the entrance and saw nothing but bare walls. Convinced he had won, he stomped his foot into the floor so hard that it left the dark imprint visitors still see today. But when he stepped forward, he discovered the truth. The "windowless" church was an illusion, created by perfectly positioned columns that hid the stained glass windows from his view. Realizing he had been tricked, the Devil fled in fury, leaving only his scorched footprint behind. Some ghost tours in Munich add even more to the myth. Guides claim the air near the entrance is strangely cold, as if the Devil still circles the church, searching for a way back in. In winter, they say, the snow at the doorway is always last to melt. History tells us it's just a legend... but the footprint is real, the illusion is real, and the story continues to haunt the cathedral to this day.

3,158,866 次观看

This is the worst art restoration in history. An 81-year-old woman with no training did it. In broad daylight. With the priest's permission. And nobody stopped her. The original was called Ecce Homo, a small fresco of Christ crowned with thorns, painted around 1930 by the Spanish artist Elías García Martínez straight onto the wall of a church in Borja, in northeastern Spain. After eighty years the damp in the walls had begun to eat the paint away, so in 2012 a parishioner named Cecilia Giménez decided to save it. She was 81, she had loved painting all her life, but she had no training whatsoever. What she left on the wall was a blurred and wide-eyed face staring out of the plaster. When the town saw it, officials assumed the church had been vandalised, and reportedly considered taking legal action. Then they found out it was Cecilia. She could not understand the fuss. "The priest knew it," she told Spanish television. "I've never tried to do anything hidden." She also insisted she had not even finished. She had left the paint to dry and gone away for two weeks, intending to come back and complete the job. She never got the chance... Within days the image had crossed the planet. The internet named it Ecce Mono, and Monkey Jesus, and Potato Jesus, and turned it into thousands of memes. Not everyone was laughing. For the people who prayed in that church, it was not a joke at all. Some of them called it a desecration, and some called it blasphemy. Whatever the world saw in the image, they had lost the face they had knelt in front of all their lives. And people now travel across the world to see the thing that replaced it. In the year after the "restoration", around 57,000 visitors came to Borja, a town most of them could not have found on a map. But the point is this: the beautiful face that Elías García Martínez painted is gone... Nobody ever thinks about him. He was a trained artist and a teacher at the fine arts school in Zaragoza, and around 1930 he stood in front of that wall and painted the face of Christ onto it by hand. The whole world knows what happened to his painting. Almost nobody knows his name.

This is the worst art restoration in history. An 81-year-old woman with no training did it. In broad daylight. With the priest's permission. And nobody stopped her. The original was called Ecce Homo, a small fresco of Christ crowned with thorns, painted around 1930 by the Spanish artist Elías García Martínez straight onto the wall of a church in Borja, in northeastern Spain. After eighty years the damp in the walls had begun to eat the paint away, so in 2012 a parishioner named Cecilia Giménez decided to save it. She was 81, she had loved painting all her life, but she had no training whatsoever. What she left on the wall was a blurred and wide-eyed face staring out of the plaster. When the town saw it, officials assumed the church had been vandalised, and reportedly considered taking legal action. Then they found out it was Cecilia. She could not understand the fuss. "The priest knew it," she told Spanish television. "I've never tried to do anything hidden." She also insisted she had not even finished. She had left the paint to dry and gone away for two weeks, intending to come back and complete the job. She never got the chance... Within days the image had crossed the planet. The internet named it Ecce Mono, and Monkey Jesus, and Potato Jesus, and turned it into thousands of memes. Not everyone was laughing. For the people who prayed in that church, it was not a joke at all. Some of them called it a desecration, and some called it blasphemy. Whatever the world saw in the image, they had lost the face they had knelt in front of all their lives. And people now travel across the world to see the thing that replaced it. In the year after the "restoration", around 57,000 visitors came to Borja, a town most of them could not have found on a map. But the point is this: the beautiful face that Elías García Martínez painted is gone... Nobody ever thinks about him. He was a trained artist and a teacher at the fine arts school in Zaragoza, and around 1930 he stood in front of that wall and painted the face of Christ onto it by hand. The whole world knows what happened to his painting. Almost nobody knows his name.

71,256 次观看

The castles of Europe are some of the most amazing things we’ve inherited from history Between 75,000 and 100,000 castles were built in Western Europe during the medieval period, with around 1,700 in England and Wales alone, and roughly 14,000 in German-speaking areas... Most of them rose between the 9th and 15th centuries after the collapse of centralized Roman authority and the rise of fragmented feudal power. As attacking armies grew more sophisticated, so did the walls meant to stop them. The cost was staggering: from 1179 to 1188, King Henry II of England spent over £6,500 on Dover Castle alone — an enormous sum given that his entire annual revenue was around £10,000. That figure was more than three times what he spent on any other building project in his reign, and more than four times what went into grand royal residences like Windsor. And then there is Malbork... Built by the Teutonic Knights in what is now Poland, Malbork is the largest castle in the world measured by land area. It covers 52 acres and once housed approximately 3,000 knights. A medieval visitor reportedly noted it seemed "more a city enclosed by walls than a single castle." In 950, Provence was home to just 12 castles. By 1000, the number had risen to 30. By 1030, it was over 100. The pace was not driven by a single empire with a plan, but by thousands of individual decisions made by lords, bishops, and kings who each decided, in their own time and place, that stone was the only reliable answer to an uncertain world... The word castle is derived from the Latin word castellum, which is a diminutive of the word castrum, meaning "fortified place". Between seventy-five thousand and a hundred thousand of these fortresses were built over six centuries as a reminder that every civilization eventually decides what it will leave behind. Europe decided on this. And the castles are still here.

The castles of Europe are some of the most amazing things we’ve inherited from history Between 75,000 and 100,000 castles were built in Western Europe during the medieval period, with around 1,700 in England and Wales alone, and roughly 14,000 in German-speaking areas... Most of them rose between the 9th and 15th centuries after the collapse of centralized Roman authority and the rise of fragmented feudal power. As attacking armies grew more sophisticated, so did the walls meant to stop them. The cost was staggering: from 1179 to 1188, King Henry II of England spent over £6,500 on Dover Castle alone — an enormous sum given that his entire annual revenue was around £10,000. That figure was more than three times what he spent on any other building project in his reign, and more than four times what went into grand royal residences like Windsor. And then there is Malbork... Built by the Teutonic Knights in what is now Poland, Malbork is the largest castle in the world measured by land area. It covers 52 acres and once housed approximately 3,000 knights. A medieval visitor reportedly noted it seemed "more a city enclosed by walls than a single castle." In 950, Provence was home to just 12 castles. By 1000, the number had risen to 30. By 1030, it was over 100. The pace was not driven by a single empire with a plan, but by thousands of individual decisions made by lords, bishops, and kings who each decided, in their own time and place, that stone was the only reliable answer to an uncertain world... The word castle is derived from the Latin word castellum, which is a diminutive of the word castrum, meaning "fortified place". Between seventy-five thousand and a hundred thousand of these fortresses were built over six centuries as a reminder that every civilization eventually decides what it will leave behind. Europe decided on this. And the castles are still here.

1,921,705 次观看

In South America, there is a place where 275 waterfalls cascade together. It is called Iguazu Falls, and it is the largest waterfall system in the world.

In South America, there is a place where 275 waterfalls cascade together. It is called Iguazu Falls, and it is the largest waterfall system in the world.

3,073,803 次观看

The most surreal beaches on Earth 🧵 1. Navagio beach in Zakynthos, Greece

The most surreal beaches on Earth 🧵 1. Navagio beach in Zakynthos, Greece

6,317,431 次观看

15 streets that don’t look real 🧵 1. Hanoi Train Street, Vietnam

15 streets that don’t look real 🧵 1. Hanoi Train Street, Vietnam

6,387,116 次观看

The first time people see this place, they assume it is AI-generated. It is not. This wonder is real and it has stood in the sea for thirteen hundred years... It is called Mont Saint-Michel, a small island off the coast of Normandy, where a medieval abbey rises in tiers of stone straight out of the sea, climbing to a single golden spire nearly a hundred metres above the water. There is nothing around it. It stands alone in a vast bay, and the effect is so strange that the eye struggles to accept it: a whole city of stone, floating between the water and the sky. What makes it stranger still is that the sea around it disappears. Mont Saint-Michel sits in a bay with the highest tides in continental Europe. Twice a day the ocean retreats for kilometres, leaving the abbey stranded on a desert of wet sand, and twice a day it floods back in and turns the rock into an island again. The same place is, within hours, surrounded by ocean and surrounded by emptiness. For more than a thousand years, this rhythm has never once stopped. Victor Hugo, who loved it, described it perfectly in 1884: “Mont-Saint-Michel is to France what the Great Pyramid is to Egypt.” I started this newsletter because our past is extraordinary, and fewer and fewer people are showing us how to truly see it. Every week I try to. If that is something you would like to be part of, you can join at the link below, and if you'd like to support my work, a paid subscription is what makes it possible: Thanks for reading.

The first time people see this place, they assume it is AI-generated. It is not. This wonder is real and it has stood in the sea for thirteen hundred years... It is called Mont Saint-Michel, a small island off the coast of Normandy, where a medieval abbey rises in tiers of stone straight out of the sea, climbing to a single golden spire nearly a hundred metres above the water. There is nothing around it. It stands alone in a vast bay, and the effect is so strange that the eye struggles to accept it: a whole city of stone, floating between the water and the sky. What makes it stranger still is that the sea around it disappears. Mont Saint-Michel sits in a bay with the highest tides in continental Europe. Twice a day the ocean retreats for kilometres, leaving the abbey stranded on a desert of wet sand, and twice a day it floods back in and turns the rock into an island again. The same place is, within hours, surrounded by ocean and surrounded by emptiness. For more than a thousand years, this rhythm has never once stopped. Victor Hugo, who loved it, described it perfectly in 1884: “Mont-Saint-Michel is to France what the Great Pyramid is to Egypt.” I started this newsletter because our past is extraordinary, and fewer and fewer people are showing us how to truly see it. Every week I try to. If that is something you would like to be part of, you can join at the link below, and if you'd like to support my work, a paid subscription is what makes it possible: Thanks for reading.

326,661 次观看

Why does Mary look younger than Jesus in Michelangelo's Pietà? The answer is one of the most beautiful in art history... Mary is holding the body of her 33 year old son, but she looks 20. Critics noticed it the moment the sculpture was unveiled in 1499. The mother of a man who has just been crucified would have been in her late forties or early fifties. Michelangelo had carved her as a girl. His own biographer, Ascanio Condivi, was the one who finally asked him why. The answer Michelangelo gave is preserved in Condivi's Life of Michelangelo and has been repeated for centuries: "Do you not know that chaste women stay fresh much more than those who are not chaste? How much more in the case of the Virgin, who had never experienced the least lascivious desire that might change her body?" Most modern critics treat this answer as a half-serious deflection. Michelangelo was famous for his sharp tongue and refused to explain himself to people he considered beneath his intellect. The deeper answer is older, and it lies inside one of the greatest poems ever written. In the final canto of Dante's Paradiso, Saint Bernard of Clairvaux begins his prayer to the Virgin with one of the most extraordinary lines in Italian literature: "Vergine madre, figlia del tuo figlio." "Virgin mother, daughter of your own son." Michelangelo, who knew Dante by heart, was carving that line into stone. Mary is younger than Jesus because Jesus is older than the universe... because she gave birth to her own creator. But there is another reading, simpler than either of those, and it is the one I find myself thinking of today. Every mother who has held her child has held them at every age at once. The infant is still inside the toddler. The toddler is still inside the teenager. The young man on her lap, even dead, is also the boy she nursed and the baby she first carried home. And maybe that's why Michelangelo did not carve Mary as the years had aged her. He carved her as love had kept her: outside of time, outside of grief, holding her son the way she had always held him... Happy Mother's Day. -- -- -- If you enjoyed this, I write a weekly newsletter read by over 50,000 people who love rediscovering the beauty of the past. You can join us here: I write about beauty in all its forms. If you'd like to support my work, a paid subscription is what makes it possible.

Why does Mary look younger than Jesus in Michelangelo's Pietà? The answer is one of the most beautiful in art history... Mary is holding the body of her 33 year old son, but she looks 20. Critics noticed it the moment the sculpture was unveiled in 1499. The mother of a man who has just been crucified would have been in her late forties or early fifties. Michelangelo had carved her as a girl. His own biographer, Ascanio Condivi, was the one who finally asked him why. The answer Michelangelo gave is preserved in Condivi's Life of Michelangelo and has been repeated for centuries: "Do you not know that chaste women stay fresh much more than those who are not chaste? How much more in the case of the Virgin, who had never experienced the least lascivious desire that might change her body?" Most modern critics treat this answer as a half-serious deflection. Michelangelo was famous for his sharp tongue and refused to explain himself to people he considered beneath his intellect. The deeper answer is older, and it lies inside one of the greatest poems ever written. In the final canto of Dante's Paradiso, Saint Bernard of Clairvaux begins his prayer to the Virgin with one of the most extraordinary lines in Italian literature: "Vergine madre, figlia del tuo figlio." "Virgin mother, daughter of your own son." Michelangelo, who knew Dante by heart, was carving that line into stone. Mary is younger than Jesus because Jesus is older than the universe... because she gave birth to her own creator. But there is another reading, simpler than either of those, and it is the one I find myself thinking of today. Every mother who has held her child has held them at every age at once. The infant is still inside the toddler. The toddler is still inside the teenager. The young man on her lap, even dead, is also the boy she nursed and the baby she first carried home. And maybe that's why Michelangelo did not carve Mary as the years had aged her. He carved her as love had kept her: outside of time, outside of grief, holding her son the way she had always held him... Happy Mother's Day. -- -- -- If you enjoyed this, I write a weekly newsletter read by over 50,000 people who love rediscovering the beauty of the past. You can join us here: I write about beauty in all its forms. If you'd like to support my work, a paid subscription is what makes it possible.

797,833 次观看

In 1504, Michelangelo finished a sculpture that contained a fact medical science would not catch up with for another 124 years. No doctor noticed it for centuries... The sculpture is the David, in the Galleria dell'Accademia in Florence. The fact, hidden in plain sight on his neck, was finally observed in 2019 by an American cardiologist named Daniel Gelfman, a clinical professor at the Marian University College of Osteopathic Medicine. Gelfman had gone to the museum like millions of visitors before him. But where most people see a perfect male body carved out of stone, he saw something only a heart specialist could see: the external jugular vein on the right side of David's neck is distended, raised visibly above the collarbone, exactly as it would appear on a real human being in a state of intense physical excitement. In ordinary anatomy, this vein is not visible. It only stands out under specific conditions — adrenaline, fear, exertion, the cardiovascular surge that comes before great physical effort. In other words, exactly the state a young man would be in moments before facing a giant. Gelfman published the finding in JAMA Cardiology, one of the most respected medical journals in the world. He called it the David Sign, and noted that it had been hiding in plain sight for more than 500 years. What makes this detail extraordinary is when Michelangelo carved it... The mechanics of the human circulatory system — the way blood actually returns to the heart through the venous network — were not formally described until 1628, when the English physician William Harvey published De Motu Cordis. Michelangelo finished David in 1504. He had sculpted, with anatomical precision, a circulatory phenomenon that medicine would not understand for over a century. "Michelangelo, like some of his artistic contemporaries, had anatomical training," Gelfman wrote. "I realized that he must have noticed temporary jugular venous distension in healthy individuals who are excited." He had. And he carved it into the marble. His contemporaries knew they were watching something more than a sculptor at work... They called him Il Divino, the divine one. In a letter dated September 1537, the poet Pietro Aretino wrote: "The world has many kings, and only one Michelangelo." If you enjoyed this, I write a weekly newsletter read by over 50,000 people who love rediscovering the beauty of the past. You can join us here: For the full breakdown of Michelangelo's David, check out today’s article: 5 details hidden inside what many consider the greatest work of art ever created by man. And if you'd like to support my work, a paid subscription is what makes it all possible.

In 1504, Michelangelo finished a sculpture that contained a fact medical science would not catch up with for another 124 years. No doctor noticed it for centuries... The sculpture is the David, in the Galleria dell'Accademia in Florence. The fact, hidden in plain sight on his neck, was finally observed in 2019 by an American cardiologist named Daniel Gelfman, a clinical professor at the Marian University College of Osteopathic Medicine. Gelfman had gone to the museum like millions of visitors before him. But where most people see a perfect male body carved out of stone, he saw something only a heart specialist could see: the external jugular vein on the right side of David's neck is distended, raised visibly above the collarbone, exactly as it would appear on a real human being in a state of intense physical excitement. In ordinary anatomy, this vein is not visible. It only stands out under specific conditions — adrenaline, fear, exertion, the cardiovascular surge that comes before great physical effort. In other words, exactly the state a young man would be in moments before facing a giant. Gelfman published the finding in JAMA Cardiology, one of the most respected medical journals in the world. He called it the David Sign, and noted that it had been hiding in plain sight for more than 500 years. What makes this detail extraordinary is when Michelangelo carved it... The mechanics of the human circulatory system — the way blood actually returns to the heart through the venous network — were not formally described until 1628, when the English physician William Harvey published De Motu Cordis. Michelangelo finished David in 1504. He had sculpted, with anatomical precision, a circulatory phenomenon that medicine would not understand for over a century. "Michelangelo, like some of his artistic contemporaries, had anatomical training," Gelfman wrote. "I realized that he must have noticed temporary jugular venous distension in healthy individuals who are excited." He had. And he carved it into the marble. His contemporaries knew they were watching something more than a sculptor at work... They called him Il Divino, the divine one. In a letter dated September 1537, the poet Pietro Aretino wrote: "The world has many kings, and only one Michelangelo." If you enjoyed this, I write a weekly newsletter read by over 50,000 people who love rediscovering the beauty of the past. You can join us here: For the full breakdown of Michelangelo's David, check out today’s article: 5 details hidden inside what many consider the greatest work of art ever created by man. And if you'd like to support my work, a paid subscription is what makes it all possible.

794,672 次观看

In 1499, Michelangelo overheard people crediting his greatest work to someone else. He snuck into St. Peter's at night and carved his name on the sculpture. He regretted it immediately and never signed anything again for the rest of his life... He was 24 years old. The year before, a French cardinal had paid him 450 gold ducats to sculpt a statue for his own tomb. The contract had one strange clause: it had to be "the most beautiful work of marble in Rome, one that no living artist could better." Michelangelo had never completed a major public commission. He accepted anyway... He carved for two years from a single block of Carrara marble that he later called the most perfect stone he ever worked. What he produced was the Pietà: the body of Christ, lifeless, across the lap of his mother. When it was unveiled, visitors refused to believe a 24-year-old Florentine had made it. They credited the work to a more famous Lombard sculptor. So according to Vasari, Michelangelo slipped into the basilica with a chisel and carved his name in Latin across the sash running between Mary's breasts: MICHAELANGELUS BONAROTUS FLORENTINUS FACIEBAT. "Michelangelo Buonarroti, the Florentine, made this." Then he vowed never to sign another work. He kept that vow. Through the David. Through the Sistine Chapel. Through the dome of St. Peter's. Through 65 more years of work, until he died at 88. Not one of them bears his name. What I can never quite get over is that he was only 23 when he started. A young man who believed he could carve the most beautiful object on earth. And then he did... If you enjoyed this, I write a newsletter read by over 50,000 people who love rediscovering the wonder and beauty of the past, one story at a time. You can join us here: History is more beautiful than we remember.

In 1499, Michelangelo overheard people crediting his greatest work to someone else. He snuck into St. Peter's at night and carved his name on the sculpture. He regretted it immediately and never signed anything again for the rest of his life... He was 24 years old. The year before, a French cardinal had paid him 450 gold ducats to sculpt a statue for his own tomb. The contract had one strange clause: it had to be "the most beautiful work of marble in Rome, one that no living artist could better." Michelangelo had never completed a major public commission. He accepted anyway... He carved for two years from a single block of Carrara marble that he later called the most perfect stone he ever worked. What he produced was the Pietà: the body of Christ, lifeless, across the lap of his mother. When it was unveiled, visitors refused to believe a 24-year-old Florentine had made it. They credited the work to a more famous Lombard sculptor. So according to Vasari, Michelangelo slipped into the basilica with a chisel and carved his name in Latin across the sash running between Mary's breasts: MICHAELANGELUS BONAROTUS FLORENTINUS FACIEBAT. "Michelangelo Buonarroti, the Florentine, made this." Then he vowed never to sign another work. He kept that vow. Through the David. Through the Sistine Chapel. Through the dome of St. Peter's. Through 65 more years of work, until he died at 88. Not one of them bears his name. What I can never quite get over is that he was only 23 when he started. A young man who believed he could carve the most beautiful object on earth. And then he did... If you enjoyed this, I write a newsletter read by over 50,000 people who love rediscovering the wonder and beauty of the past, one story at a time. You can join us here: History is more beautiful than we remember.

751,715 次观看

The Colosseum had a retractable roof, operated by a crew of sailors, almost 2000 years before any modern stadium. It was called the velarium: an enormous awning of canvas and rope that could be drawn across the open top of the arena to shade fifty thousand spectators from the Roman sun. It was so large and so complex that ordinary labourers could not manage it. The Romans brought in sailors from the imperial fleet, men who spent their lives handling rigging and sail, and stationed them at the top of the structure to extend and retract the canvas as the day moved. A building that has stood, roofless to our eyes, for centuries was in fact designed to be covered. That is the pattern with the Colosseum: almost everything about it was way more advanced than it looks today... Construction began around 72 AD under the emperor Vespasian. Once completed, it was the largest amphitheater in the Roman world: an elliptical structure of stone, concrete, and travertine, 189 meters long, rising as high as a modern fifteen story building. It could hold around 50,000 people and the staircases allowed that entire crowd to enter and leave with a speed that modern stadium designers still study. Beneath the arena floor lay the hypogeum, a hidden labyrinth of tunnels, cells, and machinery. Animals and gladiators waited there in the dark. Numerous trap doors opened in the wooden floor above them, and through hidden lifts and ramps a lion, a leopard, or an armed man could rise into the daylight as if from nowhere, in front of tens of thousands of people. The Romans knew that they had built something that would outlast them so completely that the Colosseum became, for the people who came after, a measure of the world's own endurance. In the 8th century, an epigram attributed to the Venerable Bede offered a prophecy that has never lost its allure: "As long as the Colosseum stands, so shall Rome; when the Colosseum falls, Rome shall fall; when Rome falls, so falls the world." If you enjoyed this, I write a weekly newsletter read by over 50,000 people who love rediscovering the beauty of the past. You can join us here: If you'd like to support my work, a paid subscription is what makes it possible.

The Colosseum had a retractable roof, operated by a crew of sailors, almost 2000 years before any modern stadium. It was called the velarium: an enormous awning of canvas and rope that could be drawn across the open top of the arena to shade fifty thousand spectators from the Roman sun. It was so large and so complex that ordinary labourers could not manage it. The Romans brought in sailors from the imperial fleet, men who spent their lives handling rigging and sail, and stationed them at the top of the structure to extend and retract the canvas as the day moved. A building that has stood, roofless to our eyes, for centuries was in fact designed to be covered. That is the pattern with the Colosseum: almost everything about it was way more advanced than it looks today... Construction began around 72 AD under the emperor Vespasian. Once completed, it was the largest amphitheater in the Roman world: an elliptical structure of stone, concrete, and travertine, 189 meters long, rising as high as a modern fifteen story building. It could hold around 50,000 people and the staircases allowed that entire crowd to enter and leave with a speed that modern stadium designers still study. Beneath the arena floor lay the hypogeum, a hidden labyrinth of tunnels, cells, and machinery. Animals and gladiators waited there in the dark. Numerous trap doors opened in the wooden floor above them, and through hidden lifts and ramps a lion, a leopard, or an armed man could rise into the daylight as if from nowhere, in front of tens of thousands of people. The Romans knew that they had built something that would outlast them so completely that the Colosseum became, for the people who came after, a measure of the world's own endurance. In the 8th century, an epigram attributed to the Venerable Bede offered a prophecy that has never lost its allure: "As long as the Colosseum stands, so shall Rome; when the Colosseum falls, Rome shall fall; when Rome falls, so falls the world." If you enjoyed this, I write a weekly newsletter read by over 50,000 people who love rediscovering the beauty of the past. You can join us here: If you'd like to support my work, a paid subscription is what makes it possible.

407,543 次观看

Videos

Anya Rossi

sweetdream.ai

SweetDream.ai•Sponsored•Livecam

Watch Anya Live

Anya is streaming live right now! Join her private show and enjoy exclusive content.

Exclusive private shows

1.2k viewers online

Private Show

Join now for exclusive access

Free preview available • Premium content

The greatest warrior who ever lived was told, after his death, that he should be happy. His answer is one of the most devastating things ever written... Achilles had been given a choice while alive: a long, quiet, forgotten life at home, or a short one at Troy that would make his name immortal. He chose glory. He chose to die young and be remembered forever. In the Odyssey, Odysseus goes down into the land of the dead, and Achilles comes to meet him. Odysseus tries to comfort him. He tells him he has nothing to mourn: "For of old, when thou wast alive, we Argives honored thee even as the gods, and now that thou art here, thou rulest mightily among the dead. Wherefore grieve not at all that thou art dead, Achilles." You are the most blessed man who ever lived, he says. You were worshipped in life, and now you are a king among the dead. What is there to grieve? Achilles answers immediately: "Nay, seek not to speak soothingly to me of death, glorious Odysseus. I should choose, so I might live on earth, to serve as the hireling of another, of some portionless man whose livelihood was but small, rather than to be lord over all the dead that have perished." He would rather be a day labourer, working someone else's field, for a master so poor he can barely feed him. He would take that life over ruling every soul that ever died... Achilles chose to die young so that his name would live forever. And then, in the Odyssey, Homer let him speak from the other side of that choice. And this is his answer, to Odysseus and to us: being remembered is not the same as being alive. And the ordinary day you are living right now is the thing the greatest hero in the world would trade eternity to have back.

The greatest warrior who ever lived was told, after his death, that he should be happy. His answer is one of the most devastating things ever written... Achilles had been given a choice while alive: a long, quiet, forgotten life at home, or a short one at Troy that would make his name immortal. He chose glory. He chose to die young and be remembered forever. In the Odyssey, Odysseus goes down into the land of the dead, and Achilles comes to meet him. Odysseus tries to comfort him. He tells him he has nothing to mourn: "For of old, when thou wast alive, we Argives honored thee even as the gods, and now that thou art here, thou rulest mightily among the dead. Wherefore grieve not at all that thou art dead, Achilles." You are the most blessed man who ever lived, he says. You were worshipped in life, and now you are a king among the dead. What is there to grieve? Achilles answers immediately: "Nay, seek not to speak soothingly to me of death, glorious Odysseus. I should choose, so I might live on earth, to serve as the hireling of another, of some portionless man whose livelihood was but small, rather than to be lord over all the dead that have perished." He would rather be a day labourer, working someone else's field, for a master so poor he can barely feed him. He would take that life over ruling every soul that ever died... Achilles chose to die young so that his name would live forever. And then, in the Odyssey, Homer let him speak from the other side of that choice. And this is his answer, to Odysseus and to us: being remembered is not the same as being alive. And the ordinary day you are living right now is the thing the greatest hero in the world would trade eternity to have back.

650,484 次观看 • 1 天前

This is real footage of Paris from 100 years ago

This is real footage of Paris from 100 years ago

17,454,957 次观看 • 22 天前

Leonardo da Vinci invented the self supporting bridge in the 1400s. Here’s how it works:

Leonardo da Vinci invented the self supporting bridge in the 1400s. Here’s how it works:

6,862,589 次观看 • 1 个月前

This is real footage from 120 years ago. None of the people in it knew that the city around them had four days left... What you are watching is a cable car gliding down Market Street in San Francisco, filmed on the 14th of April, 1906. The camera was mounted on the front of the car, so you see the city exactly as it was: the crowds, the horse-drawn carriages, the early automobiles weaving through traffic, the men in hats, the great buildings rising on either side. An ordinary spring afternoon in a thriving American city. Four days later, on the morning of the 18th of April, a magnitude 7.9 earthquake struck. The shaking lasted under a minute, but it ignited fires that burned through the city for days... By the time it was over, more than 3,000 people were dead and roughly 80 percent of San Francisco had been destroyed. Almost every building you see in this footage was gone. And the film itself nearly went with it. The negative was placed on a train bound for New York on the 17th of April, the day before the earthquake. Had it left a single day later, it would have burned in the fire along with the studio that made it. This entire moving record of a lost city survives because of one day...

This is real footage from 120 years ago. None of the people in it knew that the city around them had four days left... What you are watching is a cable car gliding down Market Street in San Francisco, filmed on the 14th of April, 1906. The camera was mounted on the front of the car, so you see the city exactly as it was: the crowds, the horse-drawn carriages, the early automobiles weaving through traffic, the men in hats, the great buildings rising on either side. An ordinary spring afternoon in a thriving American city. Four days later, on the morning of the 18th of April, a magnitude 7.9 earthquake struck. The shaking lasted under a minute, but it ignited fires that burned through the city for days... By the time it was over, more than 3,000 people were dead and roughly 80 percent of San Francisco had been destroyed. Almost every building you see in this footage was gone. And the film itself nearly went with it. The negative was placed on a train bound for New York on the 17th of April, the day before the earthquake. Had it left a single day later, it would have burned in the fire along with the studio that made it. This entire moving record of a lost city survives because of one day...

2,746,007 次观看 • 18 天前

This is real footage of Brazil from 117 years ago Rio De Janeiro in 1909

This is real footage of Brazil from 117 years ago Rio De Janeiro in 1909

4,070,663 次观看 • 27 天前

Today at noon thousands of red rose petals will flutter down through the oculus of the Pantheon in Rome. This spectacular tradition is held each year on the feast of Pentecost.

Today at noon thousands of red rose petals will flutter down through the oculus of the Pantheon in Rome. This spectacular tradition is held each year on the feast of Pentecost.

10,567,363 次观看 • 1 个月前

Viggo Mortensen wrote this melody himself. The words come directly from Tolkien, and everyone assumes the music is Howard Shore's, but the composer just built the orchestra around what the actor came up with. This is why there can never be another Aragorn.

Viggo Mortensen wrote this melody himself. The words come directly from Tolkien, and everyone assumes the music is Howard Shore's, but the composer just built the orchestra around what the actor came up with. This is why there can never be another Aragorn.

88,622 次观看 • 1 天前

This is what London looked like in the 1970s

This is what London looked like in the 1970s

1,455,867 次观看 • 16 天前

This is the oldest surviving icon of Christ, the oldest painted portrait of the face of Jesus that has come down to us. It was made around 1500 years ago, and if you cover one half of the face, then the other, you are looking at two different men... It's called Christ Pantocrator, a Greek title meaning "Ruler of All," and it was painted in the sixth century, around the year 550, most likely in a workshop in Constantinople, the capital of the Byzantine Empire. It was almost certainly sent as an imperial gift to a remote new monastery being built in the Egyptian desert. It has hung there, in the Monastery of Saint Catherine at the foot of Mount Sinai, ever since. For roughly 1,500 years, it has never left. That it survived at all is remarkable. In the eighth and ninth centuries, the Byzantine Empire went through a violent period called Iconoclasm, in which religious images were condemned as idolatry and destroyed by the thousands. Almost every icon of this age in the empire was burned. But Saint Catherine's lay far out in the desert, beyond the reach of the emperors and their decrees, so this one was spared. It is one of the very few images of its kind on earth to come down to us intact. But the truly haunting thing is the face. Look at it, and the two sides do not match. On the side where Christ holds the Gospel, his features are harder, sterner, the brow raised, the eye larger and more severe, the face of a judge who sees everything. On the side where he raises his hand in blessing, the expression softens, calm and merciful, the face of a savior. One half is divine authority. The other is human compassion. Most scholars believe this was entirely deliberate. The icon was painted not long after the Church had formally defined that Christ was at once fully God and fully man, two natures joined in one person. And so the artist, it is thought, built that doctrine directly into the face, splitting it in two so that the same man could be, in a single gaze, both merciful and just, both human and divine... I started my newsletter because our past is extraordinary, and fewer and fewer people are showing us how to truly see it. Every week I try to. If that is something you'd like to be part of, you can join through the link in my bio, and if you'd like to support my work, a paid subscription is what makes it possible. Thanks for reading.

This is the oldest surviving icon of Christ, the oldest painted portrait of the face of Jesus that has come down to us. It was made around 1500 years ago, and if you cover one half of the face, then the other, you are looking at two different men... It's called Christ Pantocrator, a Greek title meaning "Ruler of All," and it was painted in the sixth century, around the year 550, most likely in a workshop in Constantinople, the capital of the Byzantine Empire. It was almost certainly sent as an imperial gift to a remote new monastery being built in the Egyptian desert. It has hung there, in the Monastery of Saint Catherine at the foot of Mount Sinai, ever since. For roughly 1,500 years, it has never left. That it survived at all is remarkable. In the eighth and ninth centuries, the Byzantine Empire went through a violent period called Iconoclasm, in which religious images were condemned as idolatry and destroyed by the thousands. Almost every icon of this age in the empire was burned. But Saint Catherine's lay far out in the desert, beyond the reach of the emperors and their decrees, so this one was spared. It is one of the very few images of its kind on earth to come down to us intact. But the truly haunting thing is the face. Look at it, and the two sides do not match. On the side where Christ holds the Gospel, his features are harder, sterner, the brow raised, the eye larger and more severe, the face of a judge who sees everything. On the side where he raises his hand in blessing, the expression softens, calm and merciful, the face of a savior. One half is divine authority. The other is human compassion. Most scholars believe this was entirely deliberate. The icon was painted not long after the Church had formally defined that Christ was at once fully God and fully man, two natures joined in one person. And so the artist, it is thought, built that doctrine directly into the face, splitting it in two so that the same man could be, in a single gaze, both merciful and just, both human and divine... I started my newsletter because our past is extraordinary, and fewer and fewer people are showing us how to truly see it. Every week I try to. If that is something you'd like to be part of, you can join through the link in my bio, and if you'd like to support my work, a paid subscription is what makes it possible. Thanks for reading.

658,671 次观看 • 9 天前

This is real WWII footage of a young German soldier surrendering to the US Army in 1945.

This is real WWII footage of a young German soldier surrendering to the US Army in 1945.

4,301,658 次观看 • 1 个月前

Real footage showing England 125 years ago Rotherham in 1901

Real footage showing England 125 years ago Rotherham in 1901

833,736 次观看 • 23 天前

Life in America 40 to 100+ years ago 🧵 1. This was Los Angeles in the 1950s

Life in America 40 to 100+ years ago 🧵 1. This was Los Angeles in the 1950s

17,802,072 次观看 • 10 个月前

Coincidence? I don't think so. For nearly 500 years, hundreds of millions of people looked at the most famous painting of God ever made, and none of them noticed what was hiding in plain sight. Then, in 1990, a doctor looked up at the ceiling of the Sistine Chapel and realized that God is wrapped inside a human brain... The painting is Michelangelo's Creation of Adam, finished around 1512. You know the image even if you don't know its name: God reaching out from the heavens, His finger almost touching Adam's, the spark of life about to leap across the gap. But look at the shape around God, the swirling red cloak that holds Him and the angels aloft. For five centuries it was seen as just a billowing robe... but in 1990, a physician named Frank Lynn Meshberger published a paper in the Journal of the American Medical Association arguing that the red shroud is something else entirely: an anatomically precise cross-section of the human brain. Once you see it, you cannot unsee it. The outline of the cloak traces the outer curve of the brain. A fold in the fabric forms the Sylvian fissure, the deep groove that separates the brain's major lobes. The angel curled beneath God is positioned exactly where the brainstem would be, and the green scarf trailing down becomes the vertebral artery. Even the pituitary gland and the optic chiasm, where the nerves from the eyes cross, fall precisely into place. This was not a man likely to invent such a thing by accident. Michelangelo had spent his youth secretly dissecting human corpses in a monastery in Florence, studying the body from the inside with an obsessiveness that, by one early account, exceeded that of professional anatomists... So what did he mean by it? Meshberger argued that the painting has been misnamed. He suggested it should be called not the Creation of Adam, but the Endowment of Adam. In the Bible, God gives Adam life. But in Michelangelo's fresco, Adam is already alive, his eyes open, his body lifted. What God is reaching across that famous gap to give him is not life. It is intellect. The divine spark of human thought itself, delivered, fittingly, from inside the very organ that produces it. One of the most looked-at images in the history of the world may contain a message that took half a millennium to be read, hidden by a man who understood both the human body and the human soul better than almost anyone who has ever lived, and who seems to have decided to bury his deepest idea about us where only the most careful eye would ever find it...

Coincidence? I don't think so. For nearly 500 years, hundreds of millions of people looked at the most famous painting of God ever made, and none of them noticed what was hiding in plain sight. Then, in 1990, a doctor looked up at the ceiling of the Sistine Chapel and realized that God is wrapped inside a human brain... The painting is Michelangelo's Creation of Adam, finished around 1512. You know the image even if you don't know its name: God reaching out from the heavens, His finger almost touching Adam's, the spark of life about to leap across the gap. But look at the shape around God, the swirling red cloak that holds Him and the angels aloft. For five centuries it was seen as just a billowing robe... but in 1990, a physician named Frank Lynn Meshberger published a paper in the Journal of the American Medical Association arguing that the red shroud is something else entirely: an anatomically precise cross-section of the human brain. Once you see it, you cannot unsee it. The outline of the cloak traces the outer curve of the brain. A fold in the fabric forms the Sylvian fissure, the deep groove that separates the brain's major lobes. The angel curled beneath God is positioned exactly where the brainstem would be, and the green scarf trailing down becomes the vertebral artery. Even the pituitary gland and the optic chiasm, where the nerves from the eyes cross, fall precisely into place. This was not a man likely to invent such a thing by accident. Michelangelo had spent his youth secretly dissecting human corpses in a monastery in Florence, studying the body from the inside with an obsessiveness that, by one early account, exceeded that of professional anatomists... So what did he mean by it? Meshberger argued that the painting has been misnamed. He suggested it should be called not the Creation of Adam, but the Endowment of Adam. In the Bible, God gives Adam life. But in Michelangelo's fresco, Adam is already alive, his eyes open, his body lifted. What God is reaching across that famous gap to give him is not life. It is intellect. The divine spark of human thought itself, delivered, fittingly, from inside the very organ that produces it. One of the most looked-at images in the history of the world may contain a message that took half a millennium to be read, hidden by a man who understood both the human body and the human soul better than almost anyone who has ever lived, and who seems to have decided to bury his deepest idea about us where only the most careful eye would ever find it...

560,277 次观看 • 19 天前

Look at the size of these cathedral doors

Look at the size of these cathedral doors

715,267 次观看 • 28 天前

Colorized historical photos and videos that will make you feel like you're in a time machine 🧵 1. Jerusalem, April 1897

Colorized historical photos and videos that will make you feel like you're in a time machine 🧵 1. Jerusalem, April 1897

25,544,960 次观看 • 1 年前

The beauty of Italy, region by region 🧵 1. Campania: an evening on the Amalfi Coast

Sensitive content

This media may contain sensitive content.

The beauty of Italy, region by region 🧵 1. Campania: an evening on the Amalfi Coast

14,808,802 次观看 • 1 年前

The ancient world, then and now

The ancient world, then and now

1,326,691 次观看 • 1 个月前

A single family was so obsessed with its own glory that it built a tomb covered, floor to ceiling, in marble and precious stones. The work took so long that the family went completely extinct before it was finished... This is the Chapel of the Princes in Florence, the mausoleum of the Medici, the dynasty that ruled the city and bankrolled the Renaissance. It sits behind the Basilica of San Lorenzo, beneath the second-largest dome in Florence, surpassed only by Brunelleschi's. And inside, there is not a single bare surface: every wall, every column, every inch is sheathed in dark, gleaming stone. The Medici wanted a tomb that would rival the great royal mausoleums of Europe and announce that they were not merely bankers, but rulers chosen, almost, by God. So they did not decorate the chapel with paint. They covered it in pietre dure: precious and semi-precious stones, porphyry, jasper, lapis lazuli, coral, mother-of-pearl, cut and fitted together by hand like a vast jigsaw of jewels. The work was so difficult and so costly that the family founded an entire workshop just to produce it, the Opificio delle Pietre Dure, which still exists in Florence today. The scale of the ambition is almost hard to believe. Construction began in 1604. Along the lower walls, craftsmen inlaid the coats of arms of sixteen Tuscan cities in glowing stone. Six grand dukes were entombed in niches of porphyry and granite. And still the work went on, decade after decade, generation after generation. It went on so long that the Medici dynasty died out... The last of the line, Anna Maria Luisa de' Medici, used part of her fortune to push the chapel toward completion, but she did not live to see it done. The floor of inlaid stone was not finished until 1962, more than three and a half centuries after the first stone was laid, and more than two hundred years after the family it was built to glorify had vanished from the earth. The Medici built it to make themselves immortal, and it worked. The family is gone but you can still stand inside the room they built to be remembered by, surrounded on every side by their refusal to be forgotten...

A single family was so obsessed with its own glory that it built a tomb covered, floor to ceiling, in marble and precious stones. The work took so long that the family went completely extinct before it was finished... This is the Chapel of the Princes in Florence, the mausoleum of the Medici, the dynasty that ruled the city and bankrolled the Renaissance. It sits behind the Basilica of San Lorenzo, beneath the second-largest dome in Florence, surpassed only by Brunelleschi's. And inside, there is not a single bare surface: every wall, every column, every inch is sheathed in dark, gleaming stone. The Medici wanted a tomb that would rival the great royal mausoleums of Europe and announce that they were not merely bankers, but rulers chosen, almost, by God. So they did not decorate the chapel with paint. They covered it in pietre dure: precious and semi-precious stones, porphyry, jasper, lapis lazuli, coral, mother-of-pearl, cut and fitted together by hand like a vast jigsaw of jewels. The work was so difficult and so costly that the family founded an entire workshop just to produce it, the Opificio delle Pietre Dure, which still exists in Florence today. The scale of the ambition is almost hard to believe. Construction began in 1604. Along the lower walls, craftsmen inlaid the coats of arms of sixteen Tuscan cities in glowing stone. Six grand dukes were entombed in niches of porphyry and granite. And still the work went on, decade after decade, generation after generation. It went on so long that the Medici dynasty died out... The last of the line, Anna Maria Luisa de' Medici, used part of her fortune to push the chapel toward completion, but she did not live to see it done. The floor of inlaid stone was not finished until 1962, more than three and a half centuries after the first stone was laid, and more than two hundred years after the family it was built to glorify had vanished from the earth. The Medici built it to make themselves immortal, and it worked. The family is gone but you can still stand inside the room they built to be remembered by, surrounded on every side by their refusal to be forgotten...

531,662 次观看 • 23 天前

Atomic veterans describe what nukes feel like “When the flash hit you, you could see the X-rays of your hand through your closed eyes.” “If I was looking at you now I would see all your bones, the blood vessels and everything.”

Atomic veterans describe what nukes feel like “When the flash hit you, you could see the X-rays of your hand through your closed eyes.” “If I was looking at you now I would see all your bones, the blood vessels and everything.”

3,401,581 次观看 • 3 个月前

In 1984 a German reporter in Paris explains how to cross Place de la Concorde: "Walk steadily across and never look at the drivers. If you do, they'll think you've seen them and won't stop."

In 1984 a German reporter in Paris explains how to cross Place de la Concorde: "Walk steadily across and never look at the drivers. If you do, they'll think you've seen them and won't stop."

3,503,957 次观看 • 4 个月前