Yesterday I started reading The Flag and the Cross and emphatically recommend it, especially if you want to be able to influence the narrative that is pushing America toward White Christian Nationalism by a terrified minority to retain power. Jemar Tisby’s foreword compels the reader to absorb and embrace the facts presented and use them in our daily lives to recognize and confront the historical myths being used to control the masses.
As Tisby points out, this is not a conceptual book to be read and put back on the shelf. The authors borrow an approach employed by geologists who study Earth’s tectonic shifts, similarly seeking to understand and forecast America’s cultural shifts that are leading us away from democracy. I’m using the insights it provides to look differently at the people and institutions around me and hone my message to counter the lies and false understandings of history.
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The Chariot of Death (1848)
— by Théophile Schuler
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Details: Portrait of Urania, 19th century, British School.
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‘Crenaia, the Nymph of the Dargle’ by Frederic Leighton, c. 1880.
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Demeter, goddess of fertility and the harvest, an image likely based off of a Roman original. (Updated description due to deeper research!!)
After doing digging this image is not in fact from the temple of Eleusis but is rather a modern version of a (possibly) Roman relief of a similar kind!
The image which likely served as the basis for the modern one, photograph taken in 1864. Image source
Right now it's really unknown where this original relief came from as there's little to no information from the museum listing I found this on, but I will continue to update this as time goes on if I find more info. For anyone else, feel free to update and reblog if you find more info before I do!
UPDATE: original image source has been found for the Roman relief, it is located at the Lourve! Source
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SEKHMET
First born of Ra. She was the lion goddess of war and vengeance. Also from disease and medicine. She was a symbol of strength and power, and it was said that her breath created the desert.
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The Birth of Venus, 1875
Alexandre Cabanel
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Danae by Jean-Baptiste Regnault
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Details from Cadmus and Harmonia, by Evelyn de Morgan, 1877. Oil on canvas.
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i've come to realize there are only two kinds of tragedies: preventable and inevitable. preventable tragedies are the kind where everything could have maybe worked out if only. if only romeo had gotten the second letter. if only juliet had woken up earlier. if only creon had changed his mind about antigone sooner. if only orpheus hadn't turned around.
inevitable tragedies are the kind where everything was always going to end terribly. of course macbeth gets deposed, he murdered his way to the throne. of course oedipus goes mad, he married his own mother. of course achilles dies in the war, he had to fulfill the prophecy in order to avenge his lover.
both kinds have their merits. the first is more emotionally impactful, letting the audience cling to hope until the very end, when it's snatched away all at once leaving nothing but a void. the second is more thematically resonant, tracking an inherent fatal flaw in its hero to a natural and understandable conclusion, making it abundantly clear why everything has to happen the way it does.
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The abduction of Proserpina, Gian Lorenzo Bernini, 1621-22
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The Lament for Icarus (1898)
— by Herbert James Draper
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‘The Cave of the Storm Nymphs’ by Edward Poynter, c. 1903.
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2500 years old statue of Aphrodite
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