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Symbola diuina & humana pontificum, imperatorum, regum, 1601

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Mammal in a Sunday Dress, by Georgina M. Cox, 2026
Mammal in a Sunday Dress explores the uneasy relationship between femininity, civilisation, and the animal body. At first glance, the figure appears modest and withdrawn. Her posture is composed, her gaze seemingly lowered towards her bare feet, recalling the conventions of nineteenth-century portraiture where women were often depicted as passive objects of observation. Yet as the viewer moves closer, the illusion collapses. Her eyes are not lowered at all. She is looking directly back. The delayed eye contact transforms the encounter. The viewer approaches believing they are safely observing a woman; instead, they realise they have been observed themselves. The work refuses the traditional power dynamic of portraiture, denying the comfort of anonymous spectatorship. Looking becomes a reciprocal act. For Cox, the painting considers humanity's persistent desire to separate itself from the rest of the animal kingdom. The title quietly undermines this distinction. A "mammal" is not another creature—it is us. The Sunday dress, rich with cultural associations of femininity, morality, and respectability, becomes an attempt to distinguish ourselves from nature. Yet clothing cannot alter biology. Beneath lace and ritual remains the same vulnerable animal body. The work also reflects on the historical relationship between women and nature. Across art, religion, and philosophy, women have repeatedly been positioned as closer to instinct, emotion, reproduction, and the body itself, while men have been aligned with reason, culture, and civilisation. Mammal in a Sunday Dress does not reject this comparison. Instead, it questions why proximity to nature has so often been treated as something lesser. Chiaroscuro isolates the figure within darkness, allowing the luminous dress to symbolise the performance of civilisation while the bare feet quietly return the body to the earth. Neither is presented as more truthful than the other. The painting exists in the tension between performance and instinct, refinement and biology. Mammal in a Sunday Dress ultimately asks a simple but unsettling question: if every layer of culture were stripped away, what would remain? Not a king. Not a saint. Not a gentleman or a lady. Only another mammal, looking back.
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Self-portrait, 1787 by Maria Cosway (Italian, 1760–1838)
View of the Roman Forum with the Temple of Saturn in the Background and Fantasy View of the Roman Forum by Victor-Jean Nicolle
French, late 18th or early 19th century
pen and brown ink with watercolor on paper
Metropolitan Museum of Art x x

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"These somewhat similar statues/buildings across the world PROVE they were all made by one group!" (usually ancient aliens or a unknown ancient empire) theories are always pretty unconvincing, but the greatest is this meme of identical Olmec heads in Mexico and Ethiopia, which doesn't even bother to crop out the plaque saying "from the people of Mexico to the people of Ethiopia, 2010". Like why bother
Olmec heads are a favorite of this type of theory since there's a lot of replicas around the world. Every Olmec head on display outside of Mexico, barring some tours now and then, is a replica made by the Mexican government. The one donated to Ethiopia is in Mexico Square in Addis Ababa, which commemorates Mexico's support of Ethiopia following the Italian annexation, and anyway if you want to portray it as a real ancient artifact that's been unearthed, maybe don't include the plaque, the podium, and the fence behind it
In terms of buildings, it's always the pyramids. Why are there so many pyramids around the world???
I don't know. They don't actually look that alike. Like Egypt is clearly distinct from Mexico which is clearly different from North American mounds and so on. I think when you don't have our current technology there's only so many ways to build a building and like. A kind of tiered shape feels obvious. I don't think you need aliens for that I think it's just one of like three ways to make large buildings before they invented cranes
It also should be noted not all these buildings have the same function. Most of the time, Mesoamerican pyramids weren't tombs! They were a place to do rituals! I mean, the fact that it has a staircase leading up to the roof and isn't a hidden-off structure is kind of a hint there.
Also some of these are probably just hills bc theories that random hills in Europe are in fact hidden pyramids are everywhere
Also it's funny when they go to other buildings and go "look! Multiple ancient civilizations figured out how to stack large stones together to form structures! ALIENS CONFIRMED???"
I saw another example of this that said "look at these similar bricks used in Peru, Egypt, and Easter Island" and I don't know what to tell you, I don't think there's a limitless number of ways to combine bricks. I think Incan, Egyptian, and Rapa Nui engineers would gravitate towards building things in similar ways because everyone builds things in similar ways, the number of "efficient ways to put together buildings of a certain material" is pretty small. It's not aliens it's just that physics are physics everywhere on Earth and there's not some magical physics that makes it so Romans can build grand stone structures but the Maya need alien help (it's also not evidence of some lost proto-religion)
Ghostly Apparition by Percy Van Eman Ivory (American, 1883–1960)
Stele of Ipuy shown below with wife and child, Above Hathor, Osiris, Re-Harakhty and King.
New Kingdom 19th Dynasty, ca. 1292-1190 BC.
From Deir el-Medina, Thebes.
Now in the Egyptian Museum of Turin. Cat 7357
The world needs more bookish gargoyles and grotesques
Medieval Signet Ring, 15th-16th Century AD
A late Medieval silver ring probably Eastern European in origin.
With oval bezel, carved with a standing bird, it’s neck and head bent down, a star and crescent before it, the rim of the bezel and shoulders of the ring with decorative border.

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The grammar of ornament - Owen Jones - 1856 - via Internet Archive
Meeting of deities; from right: Mars (Laran), Venus (Turan), Minerva (Menerva), Apollo (Aplu)
Etruscan mirror
300-270 BC
1,200-Year-Old Gold Hoard Found at Ancient Saudi Settlement
Archaeologists have unearthed a 1,200-year-old hoard of gold, silver and gemstones that was buried along a medieval pilgrimage route in Saudi Arabia.
Archaeologists in Saudi Arabia have unearthed a clay pot full of gold, silver and gemstone-encrusted jewelry that may have been buried by an Islamic pilgrim en route to Mecca more than a millennium ago.
The team nicknamed the hoard the "Diriyah Treasure" after the archaeological site where it was discovered. Located on the outskirts of Riyadh, Diriyah was a key station on the Hajj route for Islamic pilgrims between Basra, Iraq, and Mecca, Saudi Arabia. According to archaeologists with the Saudi Heritage Commission who have been excavating Diriyah for six years, radiocarbon analysis of organic remains puts the main settlement in the period of 743 to 753.
During the recent excavation season, archaeologists discovered gypsum water basins and the walls of several residential buildings. Inside the structures, they found fragments of pottery and glass — but the buried ceramic jar containing over 100 pieces of jewelry was a surprise.
"One of the most important discoveries of this sixth season was the uncovering of the 'Diriyah Treasure,' which consists of a collection of gold pieces, gemstones and oxidized copper fragments," a laboratory expert with the Saudi Heritage Commission said in a translated video.
Although Diriyah is better known for being the first Saudi state and the original location of the House of Saud (the ruling family of Saudi Arabia) beginning in the 18th century, its history goes back much further.
The treasure hoard was likely buried during the early years of the Abbasid caliphate, which came to power in 750 and was destroyed by the Mongols in 1258. Named after one of Muhammad's uncles, the Abbasid caliphs helped usher in the Islamic Golden Age in which cultural and scientific activity flourished. Geographically, the Abbasid Empire stretched from North Africa to Iran but was concentrated primarily in the Arabian Peninsula and present-day Iraq, with its capital at Baghdad.
According to Islamic tradition, every adult who can afford it and is physically able to make it is supposed to make a pilgrimage — called the Hajj — to the holiest Islamic city, Mecca, at least once. During the Abbasid period, Diriyah was an important stop on the pilgrimage route between Basra, a port city in southern Iraq near the Arabian Gulf, and Mecca on the west coast of Saudi Arabia.
Experts do not yet know why the jewelry decorated with floral patterns and geometric motifs was buried at Diriyah or whether it belonged to a pilgrim. But it is clear that skilled metalworkers crafted the pieces, Gulf News reported, by shaping sheets of gold, embossing them, and inlaying semiprecious gems.
Additional archaeological excavation at Diriyah is planned for the future.
By Kristina Killgrove.
Oh, fuck OFF
'Stag meeting a Unicorn'. Historical artwork from 'The Book of Lambspring', (1749) edition, showing a meeting between a stag and a unicorn in a forest clearing. In alchemical tradition, the stag sumbolises the Sun and the Unicorn represents the Moon - a union of opposites, harmony of energies.

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Gold pendant with pearls and various gems, crafted in Ryazan, Russia, late 12th-early 13th century
from The Kremlin Museums
The dragon. Fictitious & symbolic creatures in art. 1906.