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Hammer Legend

BradyYourTutor

88,593 subscribers

331,768 views • 15 days ago •via X (Twitter)

Education Comedy Science & Technology

Anya Rossi• Live Now

Private livecam show

26 Comments

HBC42314 days ago

What is the list? Mumbai, Manila, Mexico City?

Barrolf Trumler14 days ago

Ya no es ciudad de México, todas las ciudades mas pobladas después de Tokio están en china e India

New Gay/DL Books on Amazon | ThugHarmony V-VIII14 days ago

Heh… I was thinking Melbourne until he said 3 hours from there. Idk how big or small it is, I just figured. Good for him tho

Justin14 days ago

Thank you for getting someone who can use a hammer. God bless🙏🏻

eatyour popscile14 days ago

fucking ugly jeet outa nowhere

Vanessa Venancio14 days ago

Who's saying "lock in twin" irl

J ✊🏼 "Slava Ukraini" 🇺🇦14 days ago

What FUCKING idiots! “Miami?!

interactivebrokie14 days ago

Question is worded poorly

Emmanuel14 days ago

I screamed yoooo

Amorvincitomnia14 days ago

Theyre dumb AF but good for manual labour like hammering stuff

thomas_the_train14 days ago

Oh wow

.14 days ago

Guy with the long hair 😍😍😍😍😍

benmitchell14 days ago

in actuality, it’s Mumbai (by FAR) then Moscow, and then it’s Mexico City

ItCanicas14 days ago

Manhattan jajajajajaja

Allan Nieves14 days ago

World? Minecraft?

Jorninho14 days ago

Yes, but they dumb tho

Yomomma14 days ago

I hate people that say oh my days

Shiggy14 days ago

Bro is fine lol

the realest and the baddest14 days ago

What is this Zionist ass content channel

JS14 days ago

Outdated information 😩

Ian14 days ago

Twin shit is so fucking dumb! Who came up with that shit

Haywood jublomi14 days ago

The Indian is a BROWNCLOWN

Argy14 days ago

Oh bro, bro bro bro, brrrrrr o broooooo brrr brrrr bro bro! You ve got to advise those vocabularies

*14 days ago

Madrid its like 7 millions hahaha wtf.

Rich G14 days ago

Sound like idiots

troy14 days ago

He’s fine as hell wtf

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When this sculpture was unveiled in 1753, people refused to believe it was made of marble. They were convinced the artist had used alchemy... The veil draped over the body of Christ was rendered with such impossible precision that the only explanation was that some chemical process had been used to turn a real cloth into stone. The sculptor was a 33-year-old Neapolitan named Giuseppe Sanmartino. He had carved the entire figure, including the veil, from a single block of white marble. We know this because the original commission documents survive, preserved in the Historical Archive of the Bank of Naples. A receipt signed by the patron, Prince Raimondo di Sangro, dated 16 December 1752, refers to "the statue of Our Lord in death covered by a veil also of marble." The patron himself only deepened the mystery: Raimondo di Sangro, Prince of Sansevero, was a Grand Master of the Neapolitan Masonic Lodge and a practicing alchemist... He had commissioned the sculpture for the Cappella Sansevero, his family chapel in the heart of Naples, a space he had spent his life transforming into one of the strangest interiors in Europe, filled with allegorical statues and symbols of esoteric knowledge. The legend that he had laid a real cloth over the figure and "marbleized" it through a secret chemical process took root almost immediately. And it has never fully died. But the truth is stranger than the legend. Sanmartino did this with a hammer and a chisel... Antonio Canova himself tried to buy the sculpture. According to tradition, when he was unable to, he said he would gladly have given ten years of his life to have produced something of similar perfection. The Marquis de Sade, passing through Naples, paused to praise "the folds, the finesse of the veil… the beauty, and the regularity of the overall proportions." The Veiled Christ has not left the city in over 270 years. To see it, you have to go there. I have, and I can tell you that no photograph prepares you for the moment you stand in front of it. Sculpture, at its highest, really is a kind of alchemy. The transformation of cold stone into real flesh. As Alexander Pope wrote: "Then marble, soften'd into life, grew warm." I started this newsletter because human beings once made things that look impossible, and we have largely forgotten how. Every week, I share one of those stories. If that is something you would like to be part of, you can join 50,000 readers here: If you'd like to support my work, a paid subscription is what makes it possible.

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330,942 views • 4 months ago

When Michelangelo finished this statue, the story goes that he struck it across the knee with his hammer and shouted: "Why don't you speak?" Looking at it, you can see why he expected an answer. The figure is Moses, carved by Michelangelo between 1513 and 1515 for the tomb of Pope Julius II, and it stands today in the church of San Pietro in Vincoli in Rome. It is one of the most lifelike things ever cut from stone, and Michelangelo himself is said to have considered it his most living creation. According to the legend, when it was done, the silence of something so alive was more than he could bear. He hit its knee and demanded that it speak. Some say a faint mark on the knee is still there… Look first at the head, and you will see something strange: two horns rising from his hair. They are not a symbol of evil. They are one of the most famous translation errors in history. When the Hebrew scriptures were rendered into Latin, the word describing Moses coming down from Mount Sinai, karan, was read as "horned." But the same set of letters can also mean "radiant," "emitting rays of light." Moses' face was not growing horns. It was shining. By Michelangelo's time the mistranslation was centuries old and fixed in tradition, so he carved the horns, as nearly every artist before him had. Then look at the face. The head is turned to one side, the brows drawn down, the eyes fixed on something beyond the room. Many scholars believe Michelangelo caught Moses in a single specific instant: the moment he comes down from the mountain holding the commandments and sees his people worshipping a golden idol, the breath before his fury erupts. The whole body is tensed on the edge of motion, and yet it will never move. Michelangelo believed every block of marble held a living figure inside it, waiting to be set free. With Moses, he came closer than anyone ever had, and when he laid down his tools, only one thing was still beyond him: he had made a man who could do everything but speak... I started this newsletter because our past is extraordinary, and fewer and fewer people are showing us how to 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.

When Michelangelo finished this statue, the story goes that he struck it across the knee with his hammer and shouted: "Why don't you speak?" Looking at it, you can see why he expected an answer. The figure is Moses, carved by Michelangelo between 1513 and 1515 for the tomb of Pope Julius II, and it stands today in the church of San Pietro in Vincoli in Rome. It is one of the most lifelike things ever cut from stone, and Michelangelo himself is said to have considered it his most living creation. According to the legend, when it was done, the silence of something so alive was more than he could bear. He hit its knee and demanded that it speak. Some say a faint mark on the knee is still there… Look first at the head, and you will see something strange: two horns rising from his hair. They are not a symbol of evil. They are one of the most famous translation errors in history. When the Hebrew scriptures were rendered into Latin, the word describing Moses coming down from Mount Sinai, karan, was read as "horned." But the same set of letters can also mean "radiant," "emitting rays of light." Moses' face was not growing horns. It was shining. By Michelangelo's time the mistranslation was centuries old and fixed in tradition, so he carved the horns, as nearly every artist before him had. Then look at the face. The head is turned to one side, the brows drawn down, the eyes fixed on something beyond the room. Many scholars believe Michelangelo caught Moses in a single specific instant: the moment he comes down from the mountain holding the commandments and sees his people worshipping a golden idol, the breath before his fury erupts. The whole body is tensed on the edge of motion, and yet it will never move. Michelangelo believed every block of marble held a living figure inside it, waiting to be set free. With Moses, he came closer than anyone ever had, and when he laid down his tools, only one thing was still beyond him: he had made a man who could do everything but speak... I started this newsletter because our past is extraordinary, and fewer and fewer people are showing us how to 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.

James Lucas

107,661 views • 3 months ago

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𝐃𝐚𝐯𝐢𝐝 𝐙 🇷🇺 🇷🇸🇮🇪

65,996 views • 4 months ago