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Shah Cheragh Shrine and Mosque Complex in Shiraz, Iran. The complex is known especially for its fabulous interior of mirror mosaics, Shah Cheragh shrine is one of the most prominent sites of pilgrimage in Iran. Shah-e Cheragh is considered as a holy place among Muslims unfolds story behind it,...

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Archaeo - Histories

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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.
0:17

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.

James Lucas

498,250 görüntüleme • 1 ay önce

When people humbly pleaded with a senior so-called Shia officer in the district administration not to stop the guests, explaining that they had lovingly prepared food for Majlis as a nazr (vow) in the name of Imam Hussain (as), his reported response was both shocking and deeply hurtful: “Throw this nazr into the river.” If these words were indeed spoken, they reflect a disturbing disregard for the religious sentiments of countless mourners. Such an attitude has no place in public service, where every citizen’s faith and dignity deserve respect. A nazr offered in the name of Imam Hussain (as) is an expression of devotion and faith. To dismiss it with contempt is not merely insensitive—it deeply wounds the hearts of those who hold these sacred traditions dear.
1:26

When people humbly pleaded with a senior so-called Shia officer in the district administration not to stop the guests, explaining that they had lovingly prepared food for Majlis as a nazr (vow) in the name of Imam Hussain (as), his reported response was both shocking and deeply hurtful: “Throw this nazr into the river.” If these words were indeed spoken, they reflect a disturbing disregard for the religious sentiments of countless mourners. Such an attitude has no place in public service, where every citizen’s faith and dignity deserve respect. A nazr offered in the name of Imam Hussain (as) is an expression of devotion and faith. To dismiss it with contempt is not merely insensitive—it deeply wounds the hearts of those who hold these sacred traditions dear.

Masroor Ansari

16,200 görüntüleme • 1 ay önce

One of the reasons why the Book of Enoch was excluded is because it connects many dots to what is really happening. The Book of Enoch teaches that the Nephilim were the children of the fallen angels and the daughters of men, which was accepted in the early churches. The narrative was later changed in Christianity to claim that the Nephilim were the descendants of Seth. The Flood was supposed to end the reign of the Nephilim giants on Earth, a narrative found in Mesoamerica as well...
0:20

One of the reasons why the Book of Enoch was excluded is because it connects many dots to what is really happening. The Book of Enoch teaches that the Nephilim were the children of the fallen angels and the daughters of men, which was accepted in the early churches. The narrative was later changed in Christianity to claim that the Nephilim were the descendants of Seth. The Flood was supposed to end the reign of the Nephilim giants on Earth, a narrative found in Mesoamerica as well...

Open Minded Approach

936,167 görüntüleme • 3 ay önce

King Alfred Tower is one of many “follies” built in Britain. Follies are those buildings erected by the upper classes during the heights of British power for the sole purpose of displaying wealth and entertaining friends. This particular folly was built to celebrate a victory by the Saxon, King Alfred, over the Danes in 878 AD, and is the legendary site where the King raised his standard prior to the battle. This tower was mentioned in a poem by the British poet, Thomas Hardy, in his poem entitled “The Channel Firing” written in 1914 AD. Damage to the tower occurred during World War II when an American plane crashed into it, severely damaging the upper 10 meters of the structure. The turret was repaired in 1986 with a helicopter, which was used to lower the new cone onto the tower. Today visitors can once again climb the stairs to the viewing platform at the top. Built by the Hoare banking family, the triangular tower is constructed from over one million red bricks and stands 50m in height. Work on the tower began in 1762 AD, and was completed in 1779 AD, with the addition of a ten-foot-high statue of King Alfred in an alcove above the entrance. 📽️© @jack_hellyar #archaeohistories
0:10

King Alfred Tower is one of many “follies” built in Britain. Follies are those buildings erected by the upper classes during the heights of British power for the sole purpose of displaying wealth and entertaining friends. This particular folly was built to celebrate a victory by the Saxon, King Alfred, over the Danes in 878 AD, and is the legendary site where the King raised his standard prior to the battle. This tower was mentioned in a poem by the British poet, Thomas Hardy, in his poem entitled “The Channel Firing” written in 1914 AD. Damage to the tower occurred during World War II when an American plane crashed into it, severely damaging the upper 10 meters of the structure. The turret was repaired in 1986 with a helicopter, which was used to lower the new cone onto the tower. Today visitors can once again climb the stairs to the viewing platform at the top. Built by the Hoare banking family, the triangular tower is constructed from over one million red bricks and stands 50m in height. Work on the tower began in 1762 AD, and was completed in 1779 AD, with the addition of a ten-foot-high statue of King Alfred in an alcove above the entrance. 📽️© @jack_hellyar #archaeohistories

Archaeo - Histories

546,966 görüntüleme • 2 yıl önce

Pope Leo XIV was in Naples today for the veneration of San Gennaro and to visit the shrine of Our Lady of Pompeii. My eldest daughter Rafaella was also in Naples as she was there on a Catholic hen party with her good friend that is getting married this Summer. They had just got the wedding veil in Naples and the Pope was passing through the streets of Naples. As he was passing, they called out from the crowd to the Holy Father and asked if he would bless the veil. This is what happened. The girls are delighted and what a lovely thing to do for the promotion of the Catholic sacrament of matrimony;
0:16

Pope Leo XIV was in Naples today for the veneration of San Gennaro and to visit the shrine of Our Lady of Pompeii. My eldest daughter Rafaella was also in Naples as she was there on a Catholic hen party with her good friend that is getting married this Summer. They had just got the wedding veil in Naples and the Pope was passing through the streets of Naples. As he was passing, they called out from the crowd to the Holy Father and asked if he would bless the veil. This is what happened. The girls are delighted and what a lovely thing to do for the promotion of the Catholic sacrament of matrimony;

Declan Ganley

15,872 görüntüleme • 3 ay önce

House of Neptune (1st Century AD) in Herculaneum : The association between Herculaneum and Mount Vesuvius goes way back to 79 AD, where the fateful eruption of volcano smothered this town under pyroclastic material. However, Herculaneum unlike Pompeii, was not hit by rain of ash and lapilli. But only by a very powerful pyroclastic flow and mudslide that completely covered Herculaneum with more than 20m of volcanic material. While this event was tragic, no doubt, it led to unintended consequence of preserving houses, mosaics and other artifacts remarkably under volcanic debris. In 1738 AD, during excavation of a well by a farmer, was first remains of ancient city accidentally found. Among these ruins was discovered House of Neptune, a relatively small yet ornately decorated dwelling that’s believed to be owned by a sea merchant. It is best known for mosaic depicting Neptune, Roman sea god and his sea-nymph wife, Amphitrite. House of Neptune and Amphitrite of Herculaneum is located in insula V. Exactly opposite entrance to female section of Stabian baths, in formerly busiest street in Herculaneum. Compared to other houses in Herculaneum, House of Neptune was not very big in size. Besides a shop and a couple of rooms, most interesting aspect of house is open-air courtyard. Dining room adjacent to courtyard is also small and has red walls. Frescoes that adorned its insides are now in Archeological Museum of Naples. Dining room and a few other rooms were connected to a mid-sized atrium. One noteworthy feature of atrium is presence of a shrine in corner, called lararium. Some remnants of lararium are now part of Naples Archeological Museum. The few rooms in second floor of house also contain inscriptions and paintings that reflect taste and of the owner and lives of its occupants. House of Neptune and Amphitrite of Herculaneum probably belonged to a wealthy merchant. In fact, on lower floor of house with direct access to the street there was a shop. Inside which a counter used for making food and drink, a small kitchen and perfectly preserved wooden mezzanine floor, still visible today, were found, which served to reach upper floor and in which there was a shelf that was probably used to store amphorae containing wine. The very end of the house features an open-topped courtyard with an artificial grotto and a fountain, or Nymphaeum. Entire courtyard features garden paintings. Later, when an aqueduct was introduced, they redirected it to a cistern in courtyard. This cistern was also decorated with blue mosaic chips. Courtyard is positioned in such a way that a visitor has a clear and direct view of it even before entering the house. The owner wanted to give impression of a courtyard-cum garden in limited space available, so there are frescoes within that depict flowering plants and fountains. Most probably the place where owner spent their moments of relaxation, enjoying coolness of evening. In the centre of summer triclinium was a marble basin with a fountain from which water spurted in ancient times. On central wall was created a marvellous mosaic, from which entire house takes its name, depicting Neptune and Amphitrite. The mosaic, adorned all around with a frame of sea shells, was made of glass paste in brilliant colours, depicting Neptune and Amphitrite. The rest of triclinium was frescoed with scenes depicting a garden with plants, birds and fountains, to give those inside the triclinium the feeling of being in an outdoor garden. In the centre of summer triclinic of house of Neptune and Amphitrite, fountain was supplied with water from a tank on north side of triclinic. Tank was concealed by a structure with three niches, where in central niche there was a small statue. Entire structure was covered with glass paste mosaic depicting hunting scenes in upper part and a garden with plants and birds in lower part. 🎥© massimo_osamna (IG) #archaeohistories
0:18

House of Neptune (1st Century AD) in Herculaneum : The association between Herculaneum and Mount Vesuvius goes way back to 79 AD, where the fateful eruption of volcano smothered this town under pyroclastic material. However, Herculaneum unlike Pompeii, was not hit by rain of ash and lapilli. But only by a very powerful pyroclastic flow and mudslide that completely covered Herculaneum with more than 20m of volcanic material. While this event was tragic, no doubt, it led to unintended consequence of preserving houses, mosaics and other artifacts remarkably under volcanic debris. In 1738 AD, during excavation of a well by a farmer, was first remains of ancient city accidentally found. Among these ruins was discovered House of Neptune, a relatively small yet ornately decorated dwelling that’s believed to be owned by a sea merchant. It is best known for mosaic depicting Neptune, Roman sea god and his sea-nymph wife, Amphitrite. House of Neptune and Amphitrite of Herculaneum is located in insula V. Exactly opposite entrance to female section of Stabian baths, in formerly busiest street in Herculaneum. Compared to other houses in Herculaneum, House of Neptune was not very big in size. Besides a shop and a couple of rooms, most interesting aspect of house is open-air courtyard. Dining room adjacent to courtyard is also small and has red walls. Frescoes that adorned its insides are now in Archeological Museum of Naples. Dining room and a few other rooms were connected to a mid-sized atrium. One noteworthy feature of atrium is presence of a shrine in corner, called lararium. Some remnants of lararium are now part of Naples Archeological Museum. The few rooms in second floor of house also contain inscriptions and paintings that reflect taste and of the owner and lives of its occupants. House of Neptune and Amphitrite of Herculaneum probably belonged to a wealthy merchant. In fact, on lower floor of house with direct access to the street there was a shop. Inside which a counter used for making food and drink, a small kitchen and perfectly preserved wooden mezzanine floor, still visible today, were found, which served to reach upper floor and in which there was a shelf that was probably used to store amphorae containing wine. The very end of the house features an open-topped courtyard with an artificial grotto and a fountain, or Nymphaeum. Entire courtyard features garden paintings. Later, when an aqueduct was introduced, they redirected it to a cistern in courtyard. This cistern was also decorated with blue mosaic chips. Courtyard is positioned in such a way that a visitor has a clear and direct view of it even before entering the house. The owner wanted to give impression of a courtyard-cum garden in limited space available, so there are frescoes within that depict flowering plants and fountains. Most probably the place where owner spent their moments of relaxation, enjoying coolness of evening. In the centre of summer triclinium was a marble basin with a fountain from which water spurted in ancient times. On central wall was created a marvellous mosaic, from which entire house takes its name, depicting Neptune and Amphitrite. The mosaic, adorned all around with a frame of sea shells, was made of glass paste in brilliant colours, depicting Neptune and Amphitrite. The rest of triclinium was frescoed with scenes depicting a garden with plants, birds and fountains, to give those inside the triclinium the feeling of being in an outdoor garden. In the centre of summer triclinic of house of Neptune and Amphitrite, fountain was supplied with water from a tank on north side of triclinic. Tank was concealed by a structure with three niches, where in central niche there was a small statue. Entire structure was covered with glass paste mosaic depicting hunting scenes in upper part and a garden with plants and birds in lower part. 🎥© massimo_osamna (IG) #archaeohistories

Archaeo - Histories

25,969 görüntüleme • 1 yıl önce

Facial reconstruction of a 3,600-year-old Mycenaean Greek In the middle of the 20th century, archaeologists discovered in Mycenae Grave Circle B, another royal cemetery that preceded Grave Circle A. The burial complex was discovered accidentally in 1951 when workers were excavating a nearby 13th-century BCE tomb known as the Tomb of Clytemnestra. Grave Circle B consists of 26 graves, dated to 1675–1550 BC, including 14 shaft graves. The shafts, up to 12 meters deep, were marked by burial mounds or stone stelae. The cemetery was probably used for about 100 years. The remains of 35 individuals were found in the graves. The large number of undisturbed graves allowed archaeologists to gain insight into the life of the Mycenaean elite of that time. In the women’s graves, many ornaments were found: earrings, necklaces, and gold and silver pins. Alongside the male skeletons were swords, daggers, and arrowheads; men’s clothing was decorated with gold. In one of the graves, a helmet made entirely of boar’s tusks was discovered. There are more female skeletons than male ones, and overall the female burials are richer. A unique find is a posthumous mask made of electrum, which was not placed on the deceased’s face but kept in a wooden box beside him. Another interesting artifact is a duck-shaped bowl made of rock crystal. Unlike the remains from Grave Circle A, the skeletons from the burials of Grave Circle B are well preserved. The bones of the men show traces of combat injuries, suggesting that some of these individuals likely died in battle. As early as the 1950s, it was suggested that members of several (probably four) noble families were buried in Cemetery B over 3–4 generations. To test this hypothesis, in 1995 anthropologists reconstructed faces from seven skulls found in the burials. Researchers discovered a clear resemblance between two individuals — Z59 and F51 — and divided the seven buried individuals into three groups: “heart-shaped,” “elongated,” and “beak-shaped” faces. In 2008, a genetic study was conducted on 22 skeletons from Grave Circle A. Samples were taken from mandibles and clavicles. Mitochondrial DNA was successfully obtained from four individuals, showing that a man and woman from the same grave (where the posthumous mask was found) were brother and sister. Researchers believe that both men and women of the royal lineage in this ancient society inherited power by right of birth. The skull of an individual from grave Sigma (Σ131) is particularly well preserved. It is the only one in which the lower jaw was present. It is believed that he may have been the founder of the dynasty that established this cemetery, since his grave is one of the earliest in Circle B. There were no pottery or metal objects in his grave, but the burial was marked by a large heap of stones. The anthropologist Lawrence Angel reckoned that he lived to be about 55 years old, judging from the exostoses on his shoulders and feet. Although today these would not be considered precise indicators of age—and his dental age may have been slightly younger than 55—he was still the oldest of all those buried in Circle B. Angel described him as a massively built man, big enough to draw attention in a crowd, and estimated his height at 1.75 m. He suffered from osteoporosis and had a large abscess above the upper right permanent lateral incisor.
0:10

Facial reconstruction of a 3,600-year-old Mycenaean Greek In the middle of the 20th century, archaeologists discovered in Mycenae Grave Circle B, another royal cemetery that preceded Grave Circle A. The burial complex was discovered accidentally in 1951 when workers were excavating a nearby 13th-century BCE tomb known as the Tomb of Clytemnestra. Grave Circle B consists of 26 graves, dated to 1675–1550 BC, including 14 shaft graves. The shafts, up to 12 meters deep, were marked by burial mounds or stone stelae. The cemetery was probably used for about 100 years. The remains of 35 individuals were found in the graves. The large number of undisturbed graves allowed archaeologists to gain insight into the life of the Mycenaean elite of that time. In the women’s graves, many ornaments were found: earrings, necklaces, and gold and silver pins. Alongside the male skeletons were swords, daggers, and arrowheads; men’s clothing was decorated with gold. In one of the graves, a helmet made entirely of boar’s tusks was discovered. There are more female skeletons than male ones, and overall the female burials are richer. A unique find is a posthumous mask made of electrum, which was not placed on the deceased’s face but kept in a wooden box beside him. Another interesting artifact is a duck-shaped bowl made of rock crystal. Unlike the remains from Grave Circle A, the skeletons from the burials of Grave Circle B are well preserved. The bones of the men show traces of combat injuries, suggesting that some of these individuals likely died in battle. As early as the 1950s, it was suggested that members of several (probably four) noble families were buried in Cemetery B over 3–4 generations. To test this hypothesis, in 1995 anthropologists reconstructed faces from seven skulls found in the burials. Researchers discovered a clear resemblance between two individuals — Z59 and F51 — and divided the seven buried individuals into three groups: “heart-shaped,” “elongated,” and “beak-shaped” faces. In 2008, a genetic study was conducted on 22 skeletons from Grave Circle A. Samples were taken from mandibles and clavicles. Mitochondrial DNA was successfully obtained from four individuals, showing that a man and woman from the same grave (where the posthumous mask was found) were brother and sister. Researchers believe that both men and women of the royal lineage in this ancient society inherited power by right of birth. The skull of an individual from grave Sigma (Σ131) is particularly well preserved. It is the only one in which the lower jaw was present. It is believed that he may have been the founder of the dynasty that established this cemetery, since his grave is one of the earliest in Circle B. There were no pottery or metal objects in his grave, but the burial was marked by a large heap of stones. The anthropologist Lawrence Angel reckoned that he lived to be about 55 years old, judging from the exostoses on his shoulders and feet. Although today these would not be considered precise indicators of age—and his dental age may have been slightly younger than 55—he was still the oldest of all those buried in Circle B. Angel described him as a massively built man, big enough to draw attention in a crowd, and estimated his height at 1.75 m. He suffered from osteoporosis and had a large abscess above the upper right permanent lateral incisor.

Ancestral Whispers

143,631 görüntüleme • 5 ay önce

Is Baphomet really the Devil, and what does the depiction mean? The Knights Templar were prosecuted in the fourteenth century, and under pressure it was written that they worshipped a deity from the East known as Baphomet. They were prosecuted by the elites who were threatened, the King of France and the Pope. The depiction of Baphomet comes from the French occultist Lévi in the nineteenth century as the Goat of Mendes, and it's an alchemical depiction of the balance of opposite forces. Later, in the twentieth century, that depiction was used by Satanic movements for something that has no connection to the real meaning of the depiction. The Goat of Mendes is actually the ancient ram-headed deity connected to Osiris and resurrection, known as Banebdjedet. Ba means soul, and Djed is the ancient name of Mendes, which also means the pillar spine of Osiris, so in a sense Banebdjedet means the soul that is climbing on the pillar. Before we go any deeper, you need to understand that Jesus was also connected to the ram, as He is the Lamb of God. The depiction of Baphomet is knowledge, not something that needs to be worshipped, but the Royal Families and the Pope wanted to forbid that knowledge that the Templars wanted to spread.
0:10

Is Baphomet really the Devil, and what does the depiction mean? The Knights Templar were prosecuted in the fourteenth century, and under pressure it was written that they worshipped a deity from the East known as Baphomet. They were prosecuted by the elites who were threatened, the King of France and the Pope. The depiction of Baphomet comes from the French occultist Lévi in the nineteenth century as the Goat of Mendes, and it's an alchemical depiction of the balance of opposite forces. Later, in the twentieth century, that depiction was used by Satanic movements for something that has no connection to the real meaning of the depiction. The Goat of Mendes is actually the ancient ram-headed deity connected to Osiris and resurrection, known as Banebdjedet. Ba means soul, and Djed is the ancient name of Mendes, which also means the pillar spine of Osiris, so in a sense Banebdjedet means the soul that is climbing on the pillar. Before we go any deeper, you need to understand that Jesus was also connected to the ram, as He is the Lamb of God. The depiction of Baphomet is knowledge, not something that needs to be worshipped, but the Royal Families and the Pope wanted to forbid that knowledge that the Templars wanted to spread.

Open Minded Approach

29,090 görüntüleme • 2 ay önce

There is a room in Málaga that was built to be the closest thing on earth to standing inside heaven. It is called the camarín of the Virgin of Victory, and it is hidden at the top of a tower inside the Santuario de la Victoria. To reach it, you climb and the ascent is the entire point... The building you are climbing through was completed in 1700, and it was designed as a single argument made in stone. At the bottom lies a crypt: a black chamber crowded with white plaster skeletons, a meditation on death and the brevity of life. From there a staircase rises, and as you climb it the light grows stronger and the imagery changes from bones to saints. The architects of the time understood this ascent as the soul's own journey, the dark crypt as the stage of penitence, the staircase as the stage of spiritual progress, and the room at the very top as the final stage: the union of the soul with the divine. That room at the top is the camarín, and its dome is one of the most extraordinary interiors in Spain... Every surface is covered in white and gold plasterwork. There is no empty space anywhere. The Baroque called this horror vacui, the horror of the void: the conviction that a space meant to represent heaven should not contain a single bare patch of stone. Out of that plasterwork emerge angels, flowers, birds, and mirrors. The mirrors are not decoration alone. They catch the light pouring in through the windows of the drum and throw it around the chamber, so that the gold seems to move and the whole room appears to shimmer and breathe. This wonder was built by people who believed that if you wanted to show a human being what heaven might feel like, you did not describe it to them. You built a room, and you let them climb into it... -- -- -- 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.
0:13

There is a room in Málaga that was built to be the closest thing on earth to standing inside heaven. It is called the camarín of the Virgin of Victory, and it is hidden at the top of a tower inside the Santuario de la Victoria. To reach it, you climb and the ascent is the entire point... The building you are climbing through was completed in 1700, and it was designed as a single argument made in stone. At the bottom lies a crypt: a black chamber crowded with white plaster skeletons, a meditation on death and the brevity of life. From there a staircase rises, and as you climb it the light grows stronger and the imagery changes from bones to saints. The architects of the time understood this ascent as the soul's own journey, the dark crypt as the stage of penitence, the staircase as the stage of spiritual progress, and the room at the very top as the final stage: the union of the soul with the divine. That room at the top is the camarín, and its dome is one of the most extraordinary interiors in Spain... Every surface is covered in white and gold plasterwork. There is no empty space anywhere. The Baroque called this horror vacui, the horror of the void: the conviction that a space meant to represent heaven should not contain a single bare patch of stone. Out of that plasterwork emerge angels, flowers, birds, and mirrors. The mirrors are not decoration alone. They catch the light pouring in through the windows of the drum and throw it around the chamber, so that the gold seems to move and the whole room appears to shimmer and breathe. This wonder was built by people who believed that if you wanted to show a human being what heaven might feel like, you did not describe it to them. You built a room, and you let them climb into it... -- -- -- 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.

James Lucas

69,389 görüntüleme • 2 ay önce

To Muslims who have seen the footage of Iranians burning mosques over the past days. One point must be made clear. The Islamic Republic is not merely using religion as a political tool. It is using religion as physical cover to carry out mass murder. My friends were present the day the first mosque was burned on Friday. I asked them what exactly they burned, because it was unclear on the video. They anwsered: “A mosque. But they were shooting at people from the inside.” If you believe it is acceptable to use a mosque as a military position to fire on civilians, then my conversation with you ends here. If you do not, then you should stand with the people of Iran, who are fighting a regime that exploits your religion to commit crimes in its name. The late Shah of Iran, Mohammad Reza Pahlavi, was a devout Muslim. He survived multiple assassination attempts by Islamo-Marxists and other extremists. Those experiences brought him closer to God and to Islam. This may not resonate with everyone, but he remains the single historical figure I admire and respect most, and I will not speak against what he believed in. To my fellow Iranians, please read his book: 'Answer to History'. Today, it is his son, Reza Pahlavi, whom the people have chosen as their leader. Reza Pahlavi seeks internal peace for Iran. But internal peace is impossible without regional peace. A country does not exist in isolation. It is like buying a house, renovating it, and turning it into a beautiful place to live. If the neighbouring houses are crack dens, filled with violence and instability, your house will never truly be safe, nor will it hold its value. Under his leadership, religion will be separated from the state. Not erased. Separated. And an Iran without an antagonistic Islamic regime will bring regional stability. That stability will save the lives of millions of Muslims in the years to come.
0:13

To Muslims who have seen the footage of Iranians burning mosques over the past days. One point must be made clear. The Islamic Republic is not merely using religion as a political tool. It is using religion as physical cover to carry out mass murder. My friends were present the day the first mosque was burned on Friday. I asked them what exactly they burned, because it was unclear on the video. They anwsered: “A mosque. But they were shooting at people from the inside.” If you believe it is acceptable to use a mosque as a military position to fire on civilians, then my conversation with you ends here. If you do not, then you should stand with the people of Iran, who are fighting a regime that exploits your religion to commit crimes in its name. The late Shah of Iran, Mohammad Reza Pahlavi, was a devout Muslim. He survived multiple assassination attempts by Islamo-Marxists and other extremists. Those experiences brought him closer to God and to Islam. This may not resonate with everyone, but he remains the single historical figure I admire and respect most, and I will not speak against what he believed in. To my fellow Iranians, please read his book: 'Answer to History'. Today, it is his son, Reza Pahlavi, whom the people have chosen as their leader. Reza Pahlavi seeks internal peace for Iran. But internal peace is impossible without regional peace. A country does not exist in isolation. It is like buying a house, renovating it, and turning it into a beautiful place to live. If the neighbouring houses are crack dens, filled with violence and instability, your house will never truly be safe, nor will it hold its value. Under his leadership, religion will be separated from the state. Not erased. Separated. And an Iran without an antagonistic Islamic regime will bring regional stability. That stability will save the lives of millions of Muslims in the years to come.

Arsalan Naamdar

18,294 görüntüleme • 7 ay önce

I wrote the most revealing thread for my subscribers about one potential place that might be safer during the Geophysical Event, as it was in the past, and there was a lot of migration to that place, which is historically disputed even today. During the geomagnetic excursion in the past, this place showed an interesting local anomaly. Plus, you will find out who followed my account when I wrote a thread about the projects being built in that land—he is a very powerful and rich person connected to the President of the USA. This is the most interesting thread; it will be available only to my subscribers on X and Patreon for various reasons...
0:12

I wrote the most revealing thread for my subscribers about one potential place that might be safer during the Geophysical Event, as it was in the past, and there was a lot of migration to that place, which is historically disputed even today. During the geomagnetic excursion in the past, this place showed an interesting local anomaly. Plus, you will find out who followed my account when I wrote a thread about the projects being built in that land—he is a very powerful and rich person connected to the President of the USA. This is the most interesting thread; it will be available only to my subscribers on X and Patreon for various reasons...

Open Minded Approach

145,693 görüntüleme • 4 ay önce

Crocodile-skin Suit of Armour (3rd Century AD) ..... 'In ancient Egypt the crocodile was seen as sacred and divine, and worshipped as a god, so this suit might have been worn by priests of the crocodile sect who by wearing such a garment would take on the spirit of the deity. In many parts of Africa the crocodile is seen as a fearsome and invincible creature and so I think that by wearing crocodile armour and a headpiece like this, a warrior might be transformed in some magical way and take on the attributes of the animal.' When the province of Egypt became part of the Roman Empire, it put Romans into direct contact with Egyptian culture and religion. In Egypt Roman garrisons were closely integrated into civic and religious life and participated in local cults. Around Manfalout, on the banks of the Nile in central Egypt, Roman soldiers were particularly attracted to the crocodile cult centred on the sacred grottoes of the region. This imposing armour is made from the skin of a crocodile. It comprises a helmet and cuirass (body armour) and would have been used in military-style ceremonies of the regional crocodile cult. The skin has been radio-carbon dated to the 3rd Century AD. It was presented to the British Museum in 1846 by a Mrs Andrews, who was among a group of European travellers to Manfalut who found grottoes containing the mummified remains of humans and animals, including many crocodiles. Although the cold, dry environment of the grotto preserved the suit well, the cuirass in particular was flattened and brittle. It has been painstakingly remoulded by the British Museum's Department of Conservation. 🎥© history_piece © British Museum #archaeohistories
0:16

Crocodile-skin Suit of Armour (3rd Century AD) ..... 'In ancient Egypt the crocodile was seen as sacred and divine, and worshipped as a god, so this suit might have been worn by priests of the crocodile sect who by wearing such a garment would take on the spirit of the deity. In many parts of Africa the crocodile is seen as a fearsome and invincible creature and so I think that by wearing crocodile armour and a headpiece like this, a warrior might be transformed in some magical way and take on the attributes of the animal.' When the province of Egypt became part of the Roman Empire, it put Romans into direct contact with Egyptian culture and religion. In Egypt Roman garrisons were closely integrated into civic and religious life and participated in local cults. Around Manfalout, on the banks of the Nile in central Egypt, Roman soldiers were particularly attracted to the crocodile cult centred on the sacred grottoes of the region. This imposing armour is made from the skin of a crocodile. It comprises a helmet and cuirass (body armour) and would have been used in military-style ceremonies of the regional crocodile cult. The skin has been radio-carbon dated to the 3rd Century AD. It was presented to the British Museum in 1846 by a Mrs Andrews, who was among a group of European travellers to Manfalut who found grottoes containing the mummified remains of humans and animals, including many crocodiles. Although the cold, dry environment of the grotto preserved the suit well, the cuirass in particular was flattened and brittle. It has been painstakingly remoulded by the British Museum's Department of Conservation. 🎥© history_piece © British Museum #archaeohistories

Archaeo - Histories

20,477 görüntüleme • 5 ay önce

This is quite funny. We're visiting Kamakura in Japan and we came across a large group of Chinese tourists in a place that, at first glance, looked nothing special. Turns out that this very spot is one of THE most iconic locations in Japan for Chinese people who grew up in the 1990s. Why? Because in the 1990s there was this Japanese basketball manga called "slam dunk" that every kid was watching in China, and the opening credits featured an image of this very spot: a railroad crossing on a small street leading to the beach in Kamakura. Apparently this place is so popular with Chinese tourists that they had to cordon it off at some point. Now it's obviously reopened with 3 guards assigned to handle the traffic. And now that they've heard about it, it's my daughters' turn to be hooked on the series so maybe in 20 years' time they'll be perpetuating the passion and come back to this "Slam Dunk" shrine ☺️
0:06

This is quite funny. We're visiting Kamakura in Japan and we came across a large group of Chinese tourists in a place that, at first glance, looked nothing special. Turns out that this very spot is one of THE most iconic locations in Japan for Chinese people who grew up in the 1990s. Why? Because in the 1990s there was this Japanese basketball manga called "slam dunk" that every kid was watching in China, and the opening credits featured an image of this very spot: a railroad crossing on a small street leading to the beach in Kamakura. Apparently this place is so popular with Chinese tourists that they had to cordon it off at some point. Now it's obviously reopened with 3 guards assigned to handle the traffic. And now that they've heard about it, it's my daughters' turn to be hooked on the series so maybe in 20 years' time they'll be perpetuating the passion and come back to this "Slam Dunk" shrine ☺️

Arnaud Bertrand

62,647 görüntüleme • 10 ay önce

A point of utter embarrassment and shame for many Iranians is the manner in which elements of the diaspora danced on the streets in Western capitals as bombs rained on Tehran. It is also a source for a lot of anger among Iranians in Iran who oppose the theocracy but nevertheless did not favor war and who are stunned to see some in the Diaspora being so indifferent to the suffering caused by the war. But there is another aspect that deserves closer scrutiny. These, almost exclusively pro-Shah elements of the Diaspora, did not dance to celebrate the downfall of the regime. They didn't dance because they had won. They simply danced because the war had started, nothing more. As if their goal was neither freedom nor democracy, but simply revenge and the pleasure they took from seeing Iran bombed. Had they danced after the theocracy had fallen (which it hasn't), it would be a bit different. It would be a moment where they could argue that the price was very high, but because the regime is defeated, it was worth it, and, as a result, a cause for celebration. But they didn't wait for the regime to fall. They danced right away. Signalling that the cost was worth it, EVEN IF the regime didn't fall. Because it was always about selfish revenge, not freedom.
0:11

A point of utter embarrassment and shame for many Iranians is the manner in which elements of the diaspora danced on the streets in Western capitals as bombs rained on Tehran. It is also a source for a lot of anger among Iranians in Iran who oppose the theocracy but nevertheless did not favor war and who are stunned to see some in the Diaspora being so indifferent to the suffering caused by the war. But there is another aspect that deserves closer scrutiny. These, almost exclusively pro-Shah elements of the Diaspora, did not dance to celebrate the downfall of the regime. They didn't dance because they had won. They simply danced because the war had started, nothing more. As if their goal was neither freedom nor democracy, but simply revenge and the pleasure they took from seeing Iran bombed. Had they danced after the theocracy had fallen (which it hasn't), it would be a bit different. It would be a moment where they could argue that the price was very high, but because the regime is defeated, it was worth it, and, as a result, a cause for celebration. But they didn't wait for the regime to fall. They danced right away. Signalling that the cost was worth it, EVEN IF the regime didn't fall. Because it was always about selfish revenge, not freedom.

Trita Parsi

129,086 görüntüleme • 3 ay önce

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.
0:16

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.

James Lucas

399,032 görüntüleme • 1 ay önce