Okay, I’m sure this has been posted before on here, but I only just watched this and IT BROKE ME. It broke me for good. (shashaaussi, thank you for making this. I’m dead.)
Please find enclosed the comment that speaketh to my soul
(bad translation: Ok, I have two options, 1) He’s the best actor in the entire universe or 2) He is actually in love with her. I can’t cope with his perfection.)
It’s what I’ve been thinking/saying since I first watched the show. The acting is unreal, all the minuscule moments that you miss at first or second watch and in this video are slowed down and underlined… They speak volumes with their eyes, especially Nico, whose character’s thoughts are completely obscure to us, unlike Rae’s. We feel like we really know Finn, and if you think about it, we have no facts about his life other than he’s fit, he plays football and loves music. We didn’t even get the most important part of his life explained to us. (*angry cough* mother situation). But he’s so fleshed out as a character, has so much depth and shows such a wide spectrum of emotion, that I can honestly say that I know what he was thinking in each episode/moment.
And it all comes down to the acting. I am forever in awe of the cast for mmfd.
This famous statue of Nike, goddess of victory, was found on the island of Samothrace in 1863 and has been displayed in the Louvre since 1884. It is made of Parian marble and was originally part of the Samothrace Temple Complex. There is a partial inscription on the base explaining the statue was commissioned to celebrate a Rhodian naval victory. The Hellenistic influence is obvious in the flowing style and motion, and the statue can be easily and actively viewed from all sides.
This iconic statuette is very small, only about 11 cm in height. It is carved from oolitic limestone and colored with red ochre. It was discovered near WIllendorf in 1908, and since then scholars have revised their stratigraphic analysis of the site in an attempt to discover something about the origin or cultural significance of the statuette. Given the prominence of the breasts and vulva, it may be some sort of fertility figure, but not much else is known about it.
This sculpture was discovered off the coast of Euboea (Cape Artemesion) in 1926 at the site of a shipwreck. Provenance is uncertain but it may be from Attica, Boetia, or Aegina, which all had master sculptors at the time capable of creating a work like this one. The majority of the statue is bronze, but insets for the eyes and other facial features may have been made of silver, bone, or another substance. When the statue was first found, scholars debated whether it represented Zeus or Poseidon. The answer lies with whatever object he used to be holding, a lightning bolt or a trident. The current consensus names the statue as Zeus, as a trident would cover the figure’s face, given the position of the arms.
This ceremonial palette has long been thought to depict the unification of Upper and Lower Egypt under King Narmer. Even so, there is still debate as to whether this piece depicts historical events or is meant only to provide mythological symbolism for the unification.
On the obverse, Narmer is shown with a mace and flail, and he is wearing the Red Crown of Lower Egypt. Below him, servants tie ropes around the intertwined necks of two mythological creatures (half lion, half serpent), possibly symbolizing the unification of the two halves of Egypt. On the reverse, Narmer wears the White Crown of Upper Egypt and wields his famous mace while trampling on his enemies. Names and place-names are listed in hieroglyphic script on both sides of the palette, providing some of the earliest hieroglyphic writing ever found.
Between 293 and 313 AD, Emperor Diocletian instituted a system by which the Roman Empire would be ruled by a tetrarchy, a group of four different rulers. The tetrarchy would conisist of two Augusti (senior emperors) and two Caesars (junior emperors), divided between the east and west. This portrait of the four emperors is cut from Egyptian porphyry, a rare and durable stone almost entirely reserved for imperial use. The choice of porphyry as material and the blocky, solid nature of the figures implies the artist was looking for permanence rather than idealism. All four figures are extremely similar, without individualized characteristics (except the Augusti have beards). The statue probably originated at the Philadelphion in Constantinople, but the city was sacked by the Venetians in 1204 during the 4th Crusade. It now sits on the facade of San Marco in Venice, but the missing heel piece (bottom right of the picture shown above) was found near the statue’s original location, and is now housed separately at the Istanbul Archaeology Museum.