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The Mandapeshwar caves perhaps have the most tumultuous history of all the Mumbai caves, or so it would seem from the scars the walls still bear. A Hindu temple, it was targeted by the Portuguese, who asserted their religious beliefs over it by literally building a monastery and a church dedicated to Our Lady of Immaculate Conception on top of the cave temple. Fr. Porto founded the monastery and church in 1544.The Mandapeshwar caves were hewn out of a hillock about 1,600 years ago. At one time, the Dahisar river ran in front of it, but over time the course of the river changed and the caves now face a main road.In the 18th century the church was desecrated after the Battle of Bassein in which the Marathas defeated the Portuguese. They uncovered and worshipped the rock-cut sculptures again, but towards the end of the 18th century the British defeated the Marathas and the caves once again functioned as a place of Christian worship. After the end of colonial rule the church fell into disrepair and the caves gradually reverted to the worship of Siva. The church, including its roof, has been destroyed, but older local residents recall playing among the aisles and the nave of the church when they were children.A three-foot-high symbol of the cross, hewn out of a stone panel that once depicted mythical Hindu figures, stands at the entrance. It is the only remaining proof of Mandapeshwar’s historical past.
Terracotta from Tarentum. Clay, 3rd to 2nd century. Taken at the Altes Museum in Berlin.
She is similar to this figurine in Athens: www.flickr.com/photos/detroit_import/14408487967/
80-90 AD, Cologne.
He was a cavalryman of the Ala Sulpicia.
LONGINUS BIARTA BISAE F(ilius) / BESSUS EQ(ues) ALAE SULP(iciae) AN(norum) XXXXVI / D[E SUO] F(aciendum) C(uravit)
Cologne Romano-Germanic Museum.
This is a pretty well preserved mask. You can see his headband and feathers quite well. I'm not sure if the feather looking things above to the left are part of this painting or part of another that was painted over.
Oxford. Ashmolean Museum. Escifos beoci amb Odisseu i Bòreas en una cara i Odisseu i Circe en l'altra. S. IV aC.
Parthian. Silver Mithridates I tetradrachm. Obverse with a bearded portrait, reverse with naked standing Herakles with inscriptions. 171-138 BC (1")
"11. Sarcophagus with Nereids.
A group of Nereids are shown riding dolphins. One of the Nereids was Thetis, mother of Achilles, and the figures are shown bearing the weapons which would make him the most fearsome warrior below the walls of Troy. Dated to 140-159 A.D."
Taken in the Vatican Museum in Vatican City, Italy.
European. Carved solid white marble nude female on a base, the beautifully carved cloth to the waist, three-strand necklace, smiling face, crown, the arms missing. Very rare. 1800's AD (46" x 12")
World Heritage Site - The temple was built by the Pallava kings in the 7th and 8th centuries. In 1984 UNESCO World Heritage listed Mahabalipuram sea shore temple and other sites as a cultural heritage sites.
a demonstration of the ancient art of papermaking using papyrus being given in Aswan.The demonstrator is holding up a papyrus stalk which is skinned then very thin slices are taken,soaked then compressed and dried.
Bronze plaque of Apis bull God in an elaborate crown, a winged female on either side. Holes for hanging. Green patina. 26th Dynasty. 663-525 BC (2 ¾" x 3")
Researchers in Germany have used a modern medical procedure to uncover a secret within one of ancient Egypt's most treasured artworks — the bust of Nefertiti has two faces.
news.yahoo.com/s/ap/20090331/ap_on_re_eu/eu_germany_nefer...
80 BC, Rome.
Left: [Au]relius L(ucii) l(ibertus) [H]ermia [l]anius de Colle Viminale [h]aec quae me faato praecessit corpore casto [c]oniunxs una meo praedita amans animo [f]ido fida viro veixsi[t] studio parili qum [n]ulla in avaritie cessit ab officio [A]urelia L(ucii) l(iberta)
Right: Aurelia L(ucii) l(iberta) Philematio viv(a) Philematium sum Aurelia nominitata casta pudens volgei nescia feida viro vir conleibertus fuii eidem quo careo eheu ree fuit ee vero plus superaque parens septem me naatam annororum gremio ipse recepit XXXX annos nata necis pot(ior) (or: potita) ille meo officio eo[-- adsiduo florebat ad o[mnes]
British Museum.
A painting from the medical treatise known as the Blue Beryl, from Lhasa, central Tibet, 1687-97. From the Pritzker collection. Taken with Nokia N78 cellphone.
Solid bronze statue of a nude Venus, the goddess of love, beauty, sex, fertility, prosperity and victory. Standing on a ball atop a pedestal base. Green patina. 100 BC (6" x 1 ½")
2nd-3rd c. AD, Corbridge.
They were the emblems of the Legio XX Valeria Victrix and Legio II Augusta respectively.
Corbridge Museum.
Carved green soapstone falcon-headed God Horus standing on a base, the Egyptian sky God, with a falcon depicted on the solar disc, his left foot forward, the arms to the side. Ptolemaic. 305-30 BC (3 ¾")
Terracotta, 510-500 B.C. at the exhibition "Etruscans", The Dutch National Museum of Antiquities (Rijksmuseum van Oudheden), Leiden, 2012
The Mandapeshwar caves perhaps have the most tumultuous history of all the Mumbai caves, or so it would seem from the scars the walls still bear. A Hindu temple, it was targeted by the Portuguese, who asserted their religious beliefs over it by literally building a monastery and a church dedicated to Our Lady of Immaculate Conception on top of the cave temple. Fr. Porto founded the monastery and church in 1544.The Mandapeshwar caves were hewn out of a hillock about 1,600 years ago. At one time, the Dahisar river ran in front of it, but over time the course of the river changed and the caves now face a main road.In the 18th century the church was desecrated after the Battle of Bassein in which the Marathas defeated the Portuguese. They uncovered and worshipped the rock-cut sculptures again, but towards the end of the 18th century the British defeated the Marathas and the caves once again functioned as a place of Christian worship. After the end of colonial rule the church fell into disrepair and the caves gradually reverted to the worship of Siva. The church, including its roof, has been destroyed, but older local residents recall playing among the aisles and the nave of the church when they were children.A three-foot-high symbol of the cross, hewn out of a stone panel that once depicted mythical Hindu figures, stands at the entrance. It is the only remaining proof of Mandapeshwar’s historical past.