Laconian marble grave relief depicting two enthroned heroes receiving offerings from (far smaller) worshipers. Artist unknown; ca. 550-530 BCE. Found at Chrysapha, near Sparta; now in the Altes Museum, Berlin.
European Silver Medallion with a Rider Killing a Chimera (Bellerophon?), Migration Period, 5th-7th Century AD
The medallion is surrounded by a stylized laurel wreath interspersed with flowers and shells. The center is occupied by a horseman galloping from left to right. He is armed with a spear that he points at the open mouth of a chimera. He wears a long tunic and a cloak floating behind his shoulder. The harness of the animal is rich and composed of pendants (croup and chest), as well as of a blanket, the edge of which copies the dotted pattern of the lower tunic of the rider. The chimera (a mythological creature with body and head of a lion, the head of a goat and the tail of a snake) moves to the opposite direction of the horseman. The open mouth of the creature is pierced by the pole of the spear, while the goat’s and snakes heads exhale their last breath.
This iconography strikes our visual memory, because it is close to the representation of the horseback saints, such as St. George. Nevertheless, this representation stylistically refers to the early Middle Ages, during which the cult of this saint had not appeared in the West yet.
Hieroglyphic decorations from the temple of the 18th Dynasty female pharaoh Hatshepsut (r. ca. 1479-1458 BCE) at Deir el-Bahari, on the west bank of the Nile opposite Luxor. Here, Hatshepsut’s stepson, co-regent, and eventual successor Thutmose III (r. 1479-1425 BCE) is shown presenting offerings to the falcon-headed god Horus. Photo credit:
~ Funerary naiskos of Aristonautes.
Medium: Pentelic marble
Date: 350—325 B.C.
Provenance: Athens, National Archaeological Museum
(Αθήνα, Εθνικό Αρχαιολογικό Μουσείο)
Place of origin: Ancient cemetry of the Kerameikos, Athens, 20 Dec. 1861.
• From the source: A young Athenian warrior, wearing a chlamys and with full military equipment, is depicted in the battle field. He carries a shield on his left arm and will have held a sword in his right hand. The dramatic facial expression and sinewy body recall works by the sculptor Skopas. The name of the fallen warrior, who died unmarried, is inscribed on the epistyle: ΑΡΙΣΤΟΝΑΥΤΗΣ ΑΡΧΗΝΑΥΤΟ ΑΛΑΙΕΥΣ (Ἀριστοναύτης Ἀρχινάυτο[υ] Ἁλαιεὺς — Aristonautes son of Archenautes of the deme of Halai).
Kravitz realizes that he and Taako think a lot different. He also realizes how much he loves Taako for that.
((a.k.a. i imagine Taako being the kind of person to have easily wandering thoughts, and to share these thoughts any time. including in the middle of a passionate kiss behind the Chug ‘n’ Squeeze. and Kravitz is not yet used to this.))
Taako kisses the way he talks. He kisses the he way he acts –
the way he lives and exists. Kravitz would love to romanticize it. Kravitz
would love to say that Taako is a tornado pirouetting across a desert, the
cacophonous cracking of the fissured earth.
The truth of it is that Taako is just unpredictable, easily
distracted, and occasionally oblivious.