Designed, sourced and built entirely by ME
In certain galleries of the British Museum, visitors are allowed to hold ancient artifacts with their own hands. This piece in my hand is an inscription in cuneiform from the 21st Century BCE Ziggurat of Ur. The Ziggurat, which still partially stands, was a temple complex dedicated to the Moon god Nanna (Sin). He was described as the father of all gods, and the “Lord of Wisdom”. The main sanctuary at Ur was called E-gish-shir-gal, “house of the great light”.
In some legends, Nanna begat the goddess Inanna (also known as Ishtar), who governed love and beauty and was associated with the planet Venus. She was called the “Queen of the Heaven”, and her religious influence has stretched into the present day: later known by the Phoenicians as Astarte, then to the Greeks as Aphrodite, all of whom share many similarities to the Virgin Mary of Christian worship (also a Queen of Heaven).
We are all heirs to great Mystery. None of our modern religions have ever stood on their own. They are built on the shoulders of giants, ever more ancient and nebulous because of the vast gulfs of time that stand between us and them. As I held this precious and unique artifact in my hands, I had a true sense of awe as I contemplated these ideas in my heart. To many of my friends, history is boring. I have always found that history is alive and we are surrounded and formed by it in every single way. Perhaps in another 4,000 years, this tablet will still be preserved next to artifacts from our own times, where other people will delicately hold them and wonder at what was…
If you’re a fellow 90’s kid and you enjoyed the old show Tales From the Crypt, you remember that super spooky intro sequence and the super-catchy song by Danny Elfman. Some fan remade the whole intro with CGI and it is so good!
Sacristy painting commissioned by the Observant Franciscans. The catalogue description did not give many details, but I would guess by the costumes that this was made somewhere between 1560’s to 1580’s. The theme of the Dance of Death was hugely popular throughout multiple periods of European history, and saw a particular revival after the 1538 series by Master Holbein the Younger, whose works were widely distributed with the advent of the printing press.