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I was walking on the Via Appia in Rome
and all of a sudden.... the bells were ringing..........
So I ran, saw the light and the MONKEYS, fell on my knees and started shooting
I advised them to cross the road in the light of the setting sun, but unforftunately they had their own PIG-headed ideas!
Have a nice weekend my flickr's friends!
Parque Nacional de Itatiaia-RJ
Brasil
Explore: Oct 26,2007 # 464
built in 5th - 6th century during Theodoric the Great Empire, Arian workship dedicated to Christ the Redeemer
erected by Ostrogoth King Theodoric the Great as his palace chapel during the first quarter of the 6th century
Theodoric was the King of the Ostrogoths from 471 and Ruler of Italy from 493 - 526 - Ravenna was his capital.
APlus - DGrade
Stay In Skool
We're obviously concerned about Future Cultivation and Children On Drugs..public service announcements for the kids and shit
É impressionante vermos o inexplorável mundo macro...Quem um dia já pensou que uma aranha de 1cm de comprimento fosse tão complexa?!
Olhando para uma fotografia nos faz refletir sobre a infinidade que existe em nosso sitema solar. Diante de Deus, não somos nada.
International summertime get down in Copenhagen, with Dabs&Myla doing rainfoxes and diamonds and Enue rocking an Aplus. Afterparty at Bakken amusement park!
Laran (Mars), Turan (Venus), Menrva (Minerva) and Aplu (Apollo))
An Etruscan bronze mirror [300-270 BCE]
Museo Nazionale Etrusco di Villa Giulia, Rome (Inv. 2487)
photo by courtesy of wm; Sailko
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Version-2
Laran (Mars), Turan (Venus), Menrva (Minerva) and Aplu (Apollo)
An Etruscan bronze mirror from the Museo Nazionale Etrusco di Villa Giulia, Rome (Inv. 2487)
This engraved bronze mirror, dating from approximately 300–270 BC, belongs to the rich tradition of Late Etruscan engraved mirrors. The four standing deities are identified by inscriptions engraved around the rim. They read Laran (Mars), Turan (Venus), Menrva (Minerva) and Aplu (Apollo), leaving no doubt about their identities.
Rather than illustrating a well-known episode from Greek mythology, the engraver arranged the four gods in a carefully balanced composition consisting of two confronting male–female pairs.
On the left, Laran (Mars) faces Turan (Venus). Their close relationship immediately recalls one of the best-known episodes of Greek mythology, the relationship between Ares and Aphrodite. Although no explicit narrative is shown, the intimate dialogue between the two figures conveys an unmistakable sense of mutual attraction. The engraver demonstrates how a few finely incised lines can express remarkable elegance and restrained eroticism.
The right-hand pair consists of Menrva (Minerva) and Aplu (Apollo). Unlike Laran and Turan, these deities are not linked by any famous love story or other well-established mythological episode. Their pairing therefore appears to be a deliberate compositional choice rather than the illustration of a specific narrative.
One possible interpretation is that the mirror contrasts two complementary spheres of divine power. Laran (Mars) and Turan (Venus) represent the passionate forces of war, desire and physical attraction, whereas Menrva (Minerva) and Aplu (Apollo) embody wisdom, intellectual achievement, music, healing and the civilising arts. As Musagetes, the leader of the Nine Muses, Apollo also presided over poetry, song and artistic inspiration. While this interpretation cannot be demonstrated with certainty, it accords well with the balanced structure of the composition and may explain why the engraver chose precisely these four deities.
The inscriptions deserve particular attention. Earlier scholars proposed different identifications before the Etruscan names had been securely deciphered. Today there is broad agreement that the figures represent Laran (Mars), Turan (Venus), Menrva (Minerva) and Aplu (Apollo).
Whether the mirror originally conveyed a more specific religious or philosophical meaning remains unknown. Its enduring fascination lies precisely in this openness: it presents not a dramatic myth, but a carefully conceived constellation of divine figures whose relationships invite the viewer to reflect rather than merely to recognise.
chatGPT and I
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commons.wikimedia.org/wiki/Category:Etruscan_mirrors_in_t...
G-APLU De Havilland DH-82A Tiger Moth (85094) - De Havilland Moth Club Rally Old Warden Aerodrome 10-06-2006
Enue joining the FDCosmonauts on our latest space mission. Good times in the streets of Wynwood this recent Art Basel
Beautiful vintage De Havilland Tiger Moth G-APLU taxies past another slightly 'newer' vintage machine in the form of a 1960's ex RAF Hunting Jet Provost XM479
DSC00608
1941 De Havilland DH-82A Tiger Month G-APLU
This Bi-Plane was built in 1941 by Morris Motors LTD at there Cowley plant near Oxford UK,The Tiger Month served with the RAF with s/n T6825 as a trainer
May Festival Airshow 2019
at the Imperial War Museum Duxford Cambridgeshire UK
ADE_0116
Funerary stele dedicated to Aurelius Aplus by his parents, the mother Apla and the father Aurelius Maximinus.
The stele, because of the depiction of an infant in the niche, has long been studied and interpreted as a funerary monument for a child. The discovery of a second fragment of the inscription made it possible to reconstruct the missing text and confirm that the young Aurelius Aplus actually died after reaching the age of nineteen.
The dating of the monument, proposed on the basis of stylistic considerations (the mother’s expression and the hairstyles of both figures), places it at the end of the 3rd century AD. In particular, the mother’s hairstyle recalls that of Ulpia Severina Augusta, wife of Emperor Aurelian (270–275 AD).
The inscription, CIL V, 1113, integrated with a recently discovered fragment, in its most recent edition, contains the following text:
“D(is) M(anibus) / et perpetuae se[curit]/ati. Aurelio Aplo [f]i[lio]/lo infelicissimo, qui / vixit annis XVIIII, Aurelius Maximi/nus et Apla parentes / uno filio orbati”.
Perhaps already during the 2nd century AD, the formula “perpetuae securitati” is sometimes added to the dedication to the Dis Manibus. Despite the uncertainty of its meaning, it seems to open to the hope of a survival beyond death.
Source - Museum Notice
Limestone stele no. 270
Late 3rd century AD
Aquileia, Museo Archeologico Nazionale