The resemblance with Caracalla (that you posted recently) is rather clear. The key difference is the nose…
statue of Julia Domna
…but that’s easy to explain once you see Julia Domna (Severius’ wife and Caracalla’s mother).
There’s also a cool representation of the whole family here: A portrait of Severius and Julia Domna with their children Caracalla and Geta. One of the children’s faces is erased.
Note that there are two children there, likely Geta and Caracalla; one of their faces is erased, and there are signs that excrement was smeared over it. Both brothers hated each other’s guts. (It’s hard to know which was the one with the face erased, but it’s generally believed that it’s Geta - with Caracalla doing [or ordering someone to do it] after murdering his brother.)
When Camillus took over command, Veii was under siege, and the Veientines had already destroyed a large quantity of siege equipment prepared by the Romans. In order to break into the city, the Romans dug a tunnel through the soft tufa rock on which the city was built.
Livy describes the scene with the Veientines holed up in their city, the main Roman force encamped outside and a second force set to attack from within via the tunnel. …
Relying on the superior size of the Roman army, Camillus attacked the city on all sides. The intent of Camillus’ attack was to distract the Veientines from the mine by forcing their soldiers to defend the walls.
The Veientines wondered “what had happened to make the Romans, after never stirring from their lines for so many days, now run recklessly up to the walls as though struck with sudden frenzy”.[2]
As the unsuspecting Veientines rushed to defend their walls from the sudden attack of the Roman army, picked Roman troops emerged from the entrance of the tunnel inside the temple of Juno. They quickly overwhelmed the Veientines and began a general massacre. As the fighting slackened, Camillus gave orders to spare the unarmed who began to surrender as the soldiers gathered loot.
… The survivors were enslaved. The city was subsequently repopulated by Romans. This destruction of the Etruscan stronghold secured Rome’s growing place in central Italy.
Although the use of war elephants in the western Mediterranean is most famously associated with the wars between Carthage and Roman Republic, the introduction of war elephants there was primarily the result of an invasion by Hellenistic era Epirus across the Adriatic Sea. King Pyrrhus of Epirus brought twenty elephants to attack Roman Italy at the battle of Heraclea in 280 BC, leaving some fifty additional animals, on loan from Ptolemaic Pharaoh Ptolemy II, on the mainland. The Romans were unprepared for fighting elephants, and the Epirot forces routed the Romans. The next year, the Epirots again deployed a similar force of elephants, attacking the Romans at the battle of Asculum. This time the Romans came prepared with flammable weapons and anti-elephant devices: these were ox-drawn wagons, equipped with long spikes to wound the elephants, pots of fire to scare them, and accompanying screening troops who would hurl javelins at the elephants to drive them away. A final charge of Epirot elephants won the day again, but this time Pyrrhus had suffered very heavy casualties – a Pyrrhic victory.
…
The use of war elephants over the centuries has left a deep cultural legacy in many countries. Many traditional war games incorporate war elephants. There is piece in chess called Elephant. While Englishmen call that piece bishop, it is called Gajam in Sanskrit. In Malayalam, it is called Aana (ആന), meaning elephant. In Russian, too, it is an elephant (Слон). In Bengali, the bishop is called hati, Bengali for “elephant”. It is called an elephant in Chinese chess. In Arabic – and derived from it, in Spanish – the bishop piece is called al-fil, Arabic for “elephant”.
The bishop-equivalent in shogi (Japanese chess) is 角行, “angle-mover”. (Which is odd because none of the other pieces are so mechanically named; rooks, for example, are 飛車, “flying chariot”.)
There are shogi variants that have elephant pieces, but they don’t move like bishops.
Jim Fitzpatrick is the artist, possibly most famous for doing several Thin Lizzy album sleeves. A cropped and desaturated version of this picture appeared on the cover of Darkthrone’s album The Underground Resistance.
Wouldn't you be intimidated if you saw an ass-naked man charging at you, dong swinging in the wind?
The Insubres and Boii were clothed in their breeches and light cloaks; but the Gaesatae from vanity and bravado threw these garments away, and fell in in front of the army naked, with nothing but their arms; believing that, as the ground was in parts encumbered with brambles, which might possibly catch in their clothes and impede the use of their weapons, they would be more effective in this state.
He is known as a French specialist in the illustration of prehistoric scenes , for example for Des Alpes au Léman: images de la prehistoire by Alain Gallay. [...] Firstly, he created a new genre: archaeological comics as opposed to prehistoric series like Rahan . He combines his qualities as a prehistoric illustrator with the form of comics in the Chronicles of the Night of Times series between 1987 and 1994. The scientific background is provided by his collaboration with researchers or archaeologists, and his albums are prefaced by Aimé Bocquet , Haroun Tazieff , Alain Gallay or Yves Coppens . But he himself admits that this first project “was poorly served by graphics that were not ready for comics” . It was his meeting with Simon Rocca , as a screenwriter, who made him a true comic book author with the series Le Khan , published between 1994 and 2004.
Seeing as all your posts are at 0 soon after you post them I’m convinced some mad right winger is downvoting all your shit all the time, so +1 upvote for based PugJesus
I've been where this depicts, or at least I'm assuming it's depicting a dwelling below the sun temple of Mesa Verde. Those circular things are Kivas, used for religious ceremonies and (iirc) sometimes gathering children to pass on oral history/knowledge. I spent the night up top, beautiful skies at dark.
I was able to visit Mesa Verde and really loved walking through some of these preserved spaces. Really clever design... the underchambers must have been quite pleasant in the heat of summer.
I was searching up the term "Anasazi", as I wanted to post the names of some accessible archeological sites that show these sorts of dwellings. And I came across this: "The term “Anasazi” was established in 1927 through the archaeological Pecos Classification system, referring to the Ancestral Pueblo people who spanned the present-day Four Corners region of the United States, including Mesa Verde, Chaco Canyon, Canyon De Chelly, and Aztec. The term is Navajo in origin, and means “ancient enemy.” The Pueblo peoples of New Mexico understandably do not wish to refer to their ancestors in such a disrespectful manner, so the appropriate term to use is “Ancestral Pueblo” or “Ancestral Puebloan.” " (https://indianpueblo.org/what-does-anasazi-mean-and-why-is-it-controversial/).
For sharing illustrations of history
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