#Barque design

[allthoseotherworlds]

I watched the new episode! I did enjoy it, but I will say that I strongly wish they would rename Sutekh and drop the Egyptian theming because every time they had him say "I am the god of death" I had to yell at the screen. Or make him ap/ep instead.

Like I know he's a returning villain from classic Doctor Who, but it is kind of awkward for them to list all of these completely fictional gods like Maestro and the Toymaker and the Mara, and then also an Egyptian god who was a) not evil, b) not the king of the gods, and c) not a god of death

Set was associated with strength, the desert, and storms, and protected the solar barque each night from ap/ep, an evil snake that threatened to destroy all creation and the perfect candidate for the type of villain stories keep trying to turn Set into.

Sorry, grumpy Kemetic devotee rant over.

It was nice seeing all the unit people again! I love Mel, and it's nice to see Rose working at unit. I think they handled the Doctor's complicated feelings around Susan pretty well - wanting her to be happy, not reaching out because they are afraid they ruin everything and maybe also are afraid of rejection.

I liked the bit where the Doctor said that they have a granddaughter but no children, I know it's not confirmation of looms but in my heart it is because of looms, and the designation of child versus grandchild and whatever is based on how much of your genetic material is in the loom versus someone else's. If four people put genetic material in the kid is a grandchild to all of them. I'm imagining that on Gallifrey this is completely separated from marriage and Partnerships and is more like jury duty or the draft, because that feels like the kind of thing Gallifreyan society would do.

Also I feel really bad for Carla, all this stuff happening that she has no experience with and can't really help with and everyone else seems more comfortable with it than she is. That must be difficult for her.

[ltwilliammowett]

What is the name for boats? Like is there a generic word that covers all large wooden sailing ships? Every one I can think of is a specific class of ship.

Hi,

now I have to expand a bit because you have brought two types into question. Firstly, a boat is a small vessel that is usually rowed but can also have a sail and what fits on a ship. And yes, they also have names and different tasks depending on their size. Have a look here - (I feel like a TV chef who has always prepared everything)

So with the Sailing Vessels it has become customary to call everything larger a Tall Ship, but this is not necessarily correct. Back then it was only the tall sails and only from the 1880s onwards. Before that, they were simply merchant ships, warships or small ships. Then, more precisely, it goes by the sail, i.e. the rig that carries it, which specifies the respective ship. I have also prepared something here. -

So much in a nutshell, when I'm back home I can give you a more detailed explanation if you want it and the above is not enough for you. Have a nice Sunday

[bestiarium]

The Akhekh [Egyptian mythology]

Frequently called a griffon or a dragon in modern times, Akhekh is a creature with 4 legs and 2 additional wings. It has the body of an antelope with the head of a hawk. Three cobras sit on its head at all times, though I noticed modern illustrations often tend to forgo many of these details in favour of a more traditional griffon or dragon design.

In Egyptian mythology, Akhekh is heavily associated with the god Set. This creature is also connected with darkness and evil in particular, so it seems to have a decidedly negative connotation. Since the name ‘Akhekh’ is often translated directly to ‘griffon’, I take this to mean Akhekh was the name of a species with multiple individuals rather than a singular creature, though I am not entirely certain about this. 

In the New Kingdom of Egypt (16th – 11th century BC), the Akhekh was said to make a loud, booming roar. It was also incredibly fast. Also note that during this period, the Akhekh had the head of a vulture rather than an eagle.

The Akhekh is not to be confused with Akhekhi, a being from ancient Egyptian mythology who guards the twelfth gate of the underworld alongside Pai.

Sources: Lefébure, E., 1903, La vertu du sacrifice funéraire (ancient et moyen Empire égyptien), I: La Barque, le Griffon, L’offrande, Sphinx: revue critique embrassant le domaine entire de l’égyptologie, 7, pp. 185-209. Remler, P., 2010, Egyptian Mythology from A to Z, Infobase Publishing, 233 pp. Brown, R., 1883, Remarks on the Gryphon, Heraldic and Mythological, Archaeologia, 48(2): pp. 355-378. Hincks, E., 1847, An attempt to ascertain the number, names, and powers, of the letters of the hieroglyphic or ancient Egyptian alphabet, M. H. Gill, 103 pp. Leibovitch, J., 1958, Le Griffon d’Erez et le sens mythologique de Némésis, Israel Exploration Journal, 8(3): pp. 141-148. (image source: Tapaz Drachen)

[chic-a-gigot]

La Mode illustrée, no. 17, 26 avril 1862, Paris. Toilettes de Madame Leballeur, 74, Rue Thaitbout, 74. Ville de Paris / Bibliothèque Forney

Description de toilettes:

Robe de foulard couleur cendre de roses, à rayures noires transversales. Le bas de la jupe est garni d'une bordure à la grecque faite avec du velours noir ayant 3 centimètres de largeur; de chaque côté de ce velours, et suivant par conséquent les mêmes contours, se trouve un velours noir ayant un peu moins qu'un centimètre de largeur; corsage plat, fermé par des boutons de velours noir. Sur chaque devant est une grecque pareille à celle du jupon, mais exécutée avec des velours plus étroits; manches fendues sur le côté, retenues au bas par un double bouton en velours noir; la fente dépasse le coude et s'arrête à 10 ou 13 centimètres de l'entournure; une grecque encadre la manche et la fente; la sous-manche blanche passe au travers de cette fente; le poignet de cette sous-manche est demi-large et recouvert par une ruche composée de quatre rangs de guipure blanche ayant un centimètre de largeur. Mantelet-écharpe en taffetas noir brodé au crochet, en soie noire, garni d'une haute dentelle de Chantilly.

Robe en grenadine de laine couleur mauve, à semé de dessins de même couleur, mais plus foncés. Le bas de la jupe est garni avec cinq volants tuyautés (le dernier à tête), couvrant un espace de 20 centim.; saute-en-barque de cachemire gris orné de broderie en soie noire mélangée de lacets noirs. Chapeau rond en paille blanche garni d'une grande plume noire et d'une petite plume rouge.

—

Foulard dress in the color of ash roses, with transverse black stripes. The bottom of the skirt is trimmed with a Greek border made with black velvet 3 centimeters wide; on each side of this velvet, and consequently following the same contours, is a black velvet having a little less than a centimeter in width; flat bodice, closed by black velvet buttons. On each front is a fretwork similar to that of the petticoat, but executed with narrower velvets; sleeves slit on the side, held at the bottom by a double black velvet button; the cleft goes beyond the elbow and stops 10 or 13 centimeters from the armpit; a Greek key frames the sleeve and the slit; the white undersleeve passes through this slot; the wrist of this under-sleeve is half-wide and covered by a beehive made up of four rows of white guipure one centimeter wide. Mantelet-scarf in black taffeta embroidered with crochet, in black silk, trimmed with high Chantilly lace.

Dress in purple wool grenadine, strewn with designs of the same color, but darker. The bottom of the skirt is trimmed with five fluted flounces (the last with a head), covering a space of 20 centimeters; Gray cashmere boat jumper adorned with black silk embroidery mixed with black laces. Round white straw hat trimmed with a large black feather and a small red feather.

[music-addiction-disorder]

Great Temple of Ramses II 

Abu Simbel, Egypt, Africa

... looks familiar ?

Carved out of the mountain on the west bank of the Nile between 1274 and 1244 BC, this imposing main temple of the Abu Simbel complex was as much dedicated to the deified Ramses II himself as to Ra-Horakhty, Amun and Ptah. The four colossal statues of the pharaoh, which front the temple, are like gigantic sentinels watching over the incoming traffic from the south, undoubtedly designed as a warning of the strength of the pharaoh.

Over the centuries both the Nile and the desert sands shifted, and this temple was lost to the world until 1813, when it was rediscovered by chance by the Swiss explorer Jean-Louis Burckhardt. Only one of the heads was completely showing above the sand, the next head was broken off and, of the remaining two, only the crowns could be seen. Enough sand was cleared away in 1817 by Giovanni Belzoni for the temple to be entered.

From the temple’s forecourt, a short flight of steps leads up to the terrace in front of the massive rock-cut facade, which is about 30m high and 35m wide. Guarding the entrance, three of the four famous colossal statues stare out across the water into eternity – the inner left statue collapsed in antiquity and its upper body still lies on the ground. The statues, more than 20m high, are accompanied by smaller statues of the pharaoh’s mother, Queen Tuya, his wife Nefertari and some of his favourite children. Above the entrance, between the central throned colossi, is the figure of the falcon-headed sun god Ra-Horakhty.

The roof of the large hall is decorated with vultures, symbolising the protective goddess Nekhbet, and is supported by eight columns, each fronted by an Osiride statue of Ramses II. Reliefs on the walls depict the pharaoh’s prowess in battle, trampling over his enemies and slaughtering them in front of the gods. On the north wall is a depiction of the famous Battle of Kadesh (c 1274 BC), in what is now Syria, where Ramses inspired his demoralised army so that they won the battle against the Hittites. The scene is dominated by a famous relief of Ramses in his chariot, shooting arrows at his fleeing enemies. Also visible is the Egyptian camp, walled off by its soldiers’ round-topped shields, and the fortified Hittite town, surrounded by the Orontes River.

The next hall, the four-columned vestibule where Ramses and Nefertari are shown in front of the gods and the solar barques, leads to the sacred sanctuary, where Ramses and the triad of gods of the Great Temple sit on their thrones.

The original temple was aligned in such a way that each 21 February and 21 October, Ramses’ birthday and coronation day, the first rays of the rising sun moved across the hypostyle hall, through the vestibule and into the sanctuary, where they illuminate the figures of Ra-Horakhty, Ramses II and Amun. Ptah, to the left, was never supposed to be illuminated. Since the temples were moved, this phenomenon happens one day later.

[somethingclevermahogony]

Happy WBW!

I noticed there's a lot of islands and a lot of water on your world map. How advanced is seafaring technology?

Hello and thank you for the question! For most of these posts and questions I have focused solely on the Green Sea and excluded the rest of the world, however for this question I will go over some examples of seafaring peoples from various regions of Kobani.

This also gives me a chance to talk about some of the Forestfolk (non-human) populations of Kobani as they tend to be the greatest voyagers.

Kishetal (And most of the Green Sea)

When it comes to seafaring technology it is important to recognize that the sail is still a relatively new invention in many parts of Kobani. In Kishetal for example the sail has only been a common aspect of seafaring for about 1,200 years. This means that Kishetal and the Kishite identity itself is actually older than the introduction of the sail to the region.

Kishite ships are generally long and low to the water, propelled by oar and sail. Kishite ships are morphologically similar to those used by other cultures in the Green Sea including the Korithians, the Shabalans, and the Apunians. The reason for this similarity is a shared ancestry, as all are at least in part inspired by the shipbuilding technologies of the now extinct Arkodians.

Warships have a convex stern and are propelled by large single-masted square sails and two banks of oars. Most but not all warships also possess large wooden rams at their front, designed to crush and sink enemy vessels.

The largest ships, war barques, while rarely built due to their exorbitant price have the potential to be massive, holding crews of up to 700 people.

Merchant vessels are more varied, typically wider and slower, designed to hold cargo. The largest merchant vessels may carry up to 500 tons of cargo, though 100-150 tons is far more common. Smaller vessels may only carry 5-10 tons of cargo.

Most Kishite ships and shipping routes still hug the coasts or else island hop, the open sea is a daunting and dangerous place even for experienced sailors.

While compasses have not been invented, sailors are able to navigate via stars maps, knowledge of currents, the movements of fauna, and by carefully observing the topography of the coast.

In rare cases sages may be employed on ships both to consult spirits as to directions and locations and to manipulate currents and winds.

Excerpt

The port of Chibal stretched out before Suru, its waters were host to ships from across the Green Sea. Merchants’ ships filled to bursting with cargo, their colored sails flapping in the wind. Goods from the Western Isles of Ikeni and Dirsia where the Green Sea met the Kronatic Ocean to the lands of Apuna upon the Putla Delta. Foodstuffs, beasts, weapons, timber, art, spices, delicate instruments, bundles of tablets and scrolls, and of course slaves. The harbor itself was a massive artificial reservoir, a rectangular structure of hewn stone that protected the ships and buildings that lined the many docks and piers. At the center of the harbor was an artificial island and crouched upon was a figure of bronze, a colossal statue. He had the face of a youth, soft and clean-shaven, his hair in long curls fell down his back. He wore naught but a shawl draped over his shoulders. Had the statue been standing the top of his head would have towered over the tallest of trees, rather he was bent, kneeling, hand outstretched, palm facing the heavens as if intent on scooping up a ship from the harbor below. Suru gazed up in wonder at the serene expression. “How is that possible?” “Money,” Otilia said shortly. She had far more pressing issues on her mind than the statue.

Ikopesh

The Ikopeshi are the undisputed masters of the sea, at least in their region. It was the Ikopeshi who first developed and later introduced the sail to their neighbors. Ikopeshi ships are generally small compared to those of other Green Sea cultures, however they are typically sleeker and faster in their construction. 

The majority (79%) of Ikopeshi belong to or descend from a race of forestfolk called the Iko. The Iko and those that retain their traits are naturally adapted to thrive at sea, this includes a natural proclivity for swimming, slightly increased lung capacities (which accounts for the stereotypical barrel chested look of Ikopeshi), and the ability to safely drink and process saltwater.

The Ikopeshi have no fear of the open sea and will gladly spend days or even weeks without ever stepping foot on dry land. This comfortability at sea is just one reason why the Ikopeshi are both popular maritime mercenaries and dreaded pirates.

Ikopeshi war canoes or urkebul (Ikopeshi urka-long, ebul- boat/ship) are long thin vessels, some over 90 ft in length, propelled by oar (Shown above, source). These ships are among the fastest in the Green Sea and are feared as vessels favored by pirates and raiders.

Ikopeshi warships and pirate ships, whenever possible, carry sages. Sages use the magic of ocean and wind spirits both to increase the speed of Ikopeshi ships and to keep the various sea-monsters which roam the Green Sea at bay. These sages are called Salt-Speakers.

Ikopeshi navigators are famed for their keen knowledge of astronomy and cartography. It is said that Ikopeshi ships that have ventured out of the Green Sea have traveled far enough to see the Northern Ices and far enough south to engage in battles with their fellow seafaring forestfolk, the Ru (Who I will talk about below.)

The Ru and On

The Ru and the On are among the most wide ranging people in Kobani alongside the Ikopeshi and The Paguai, all of whom are primarily composed of forestfolk. About 64% of those that belong to the Ru culture are forestfolk.

The most common Ru forestfolk population are the Ru'kui. The Ru'kui are quite small in stature, typically no more taller than 4ft. However they are muscularly built, with long and powerful forearms and webbed digits, well-suited to both swimming and the manipulation of nautical instruments. However their most unique trait is a pouch of fat that forms around the shoulders and back, giving the Ru'kui a slightly hunchbacked appearance. This functions in similar fashion to a camel's hump and when fully stocked, will allow a Ru'kui to travel for days or in extreme cases weeks at a time without food or drink. This is essential for the island hopping culture of the Ru.

Ru ships come in a variety of shapes the most common are the double hulled wukua built used for trade and the settlement of new islands. The second kind of ship, the vapokua are long and thin canoes designed for hunting large fauna between the rocks and outcroppings of southern Pyritia and the southern ice flows. The Ru are one of the only cultures in Kobani which lives and relies on both tropical and polar environments.

Ru traders travel to and trade with ports in four continents (Pyritia, Macia, Ulania, and Zudia).

As with the Ikopeshi the Ru are reliant on an advanced knowledge of astronomy, one which is passed down in sacred fashion.

One branch of the Ru settled in the eastern sea near Zudia, in time becoming ethnically and culturally distinct. The On, are the product of the intermingling of several forestfolk groups, chief among them are the Ru'kui and the now extinct, Ap. The On population is only 52% forestfolk. These forestfolk, the Onimui, are far taller than their Ru'kui ancestors, taller and broader even then most humans in their area. The Onimui possess broad shoulders and brightly colored skin which may range in color from coral red to turquoise. The Onimui are famed for their strength and stature, for this reason they have been called "The Jeweled Giants of the Southern Sea." The Onimui lack the humps of the Ru’kui and instead their fat deposits are distributed around their bodies, giving them their slightly bulky appearance, similar to blubber in some marine species.

On vessels are smaller and more delicately built than their Ru counterparts, and the On rarely visit the southern icefields when compared to their Ru cousins.

The Dorthuit

(I couldn't find a picture that quite fit what I wanted for this and I don't have the time or skills to draw my own.)

The Dorthuit refers to a confederation of 46 distinct tribes including 5 forestfolk tribes.

The Dorthuit are the only Polar culture which utilizes sails. The Dorthuit are also unique in that their vessels are primarily constructed from skin and bone rather than wood, due to the resources available to them. This however has not stopped them from creating impressive ships, some large enough to carry entire villages. These ships are incredibly light, and even the largest sailing ships and canoes, some of which may stretch to 50 or 60 feet in length can be lifted and carried on the shoulders of 20 or fewer individuals. This allows for the Dorthuit to effectively travel over sea, ice, and land with ease. 

During the winter months when the ice is at its thickest and the largest ships can be turned upside down and used as temporary homes, their sails turned into blankets or other domestic implements. 

Alongside these larger sailing ships are a vast array of canoes and rowing boats, well made for slipping around ice flows, well-suited to hunting large mammals and various polar sea monsters. It is traditional in many tribes for young people to build their first canoe as a right of passage into adulthood. This canoe will be used and repaired for the remainder of that person's life, and it is considered an ill omen if one's canoe is destroyed or otherwise lost. For this reason, it is not unusual for canoes to be destroyed or stolen during intertribal conflict as a form of spiritual warfare.

The Dorthuit are experts at reading the paths and movements of currents and their subsequent effect on ice flows. They are less reliant on astronomical navigation compared to other sea-faring cultures.

The Kavuru , Indosi, Balijivuri, and Kikiruru

These people inhabit the islands of southern Macia. Though they now speak several different languages and are culturally distinct all descend from the ancient “Boat People'' who were in actuality a mixture of groups including people from the Proto-Sinrian regions of the southern Sinrian Peninsula, what is now the kingdoms of Jini and Malu, alongside people from Wuru, Mu, Namut, Cholyasia, and even the Ru. This diversity of origins and cultural influences has made this region one of the most culturally dynamic in the world of Kobani. 

The Kavuru and Kikiruru in particular are famed for their skill in ship-building. Both of these cultures build massive flat-topped ships, several of which may be lashed together to form floating cities, called kutaparung/kotaparun. The largest example of this is the Kavuru capital city of Gupatag, which is so massive that it even has agricultural land, one which rice, fruit, and livestock are reared. These massive structures, while ungainly, are technically navigable, and if unleashed from the reefs and landmasses which they are connected to, can be moved.

On a less spectacular note, these cultures make use of large vessels propelled by sail and oar. These are typically made with a lashed constructed from logs, lashed together with plant fibers and natural adhesives rather than with slats or planks as is more common in regions like the Green Sea. These vessels come in a number of forms, from broader and slower merchant vessels, to the sleeker, double-decked war ships known to raid as far west as the coast of Pyritia and along the coast of Mu.

Warships in particular are heavily decorated with dyes, gilding, and elaborate carving. While most of these vessels utilize a single mast and sail formulation, some varieties may include two or even three sails. These peoples are some of the earliest to adopt this particular technology. Sailing sages or Brine Saints, are of major importance in these cultures, particularly among the Indosi, where these sages often act as leaders or figures of authority. It is said that the best Sages may captain and steer a ship without a crew, eyes closed with only the guidance and assistance of the spirits of the wind and sea. 

In Balijivuri culture spirits are invited to live on vessels themselves, offered regular offerings of cooked food and alcohol, in exchange these spirits (in theory) protect the vessel from the machinations of other less hospitable spirits, demons, and monsters.

These are just some of the seafaring cultures of Kobani and their technologies, hope that answered your question!

[phantomarine]

What’s your favorite ship ( boats ) in phatomarine

For having a seafaring comic I have fully designed a downright sad number of boats (three). So I'll just talk about what I like about each one.

Mantaluna (the main ship that everyone is on): I love the external design, even if the sails really make no sense and would be a nightmare to actually maneuver. I love the dining room design and Phaedra's bedroom/study was tons of fun to lay out. I'm excited to spend more time on it! We're gonna spend a lot of time on it...

Golden Feronia (Vanna's ship): The most basic exterior but the best interior, IMHO. I loved drawing all her little trinkets and plants and vials, and all the nooks and crannies that Pavel could potentially hide/sleep in. It's modeled after a boat owned by one of my teachers in animation school, which he'd take the class out on every summer. The best boat for utility!

Pandion (Halea's lil boat): It's small and spooky and I want to design the interior someday - it's probably pretty decadent (and probably smells like cigarette smoke). It's meant to look a little like an Egyptian funerary barque.

I should honestly just clean up a bunch of my old boat sketches and give them silly names and stick them in random spots in the comic. This was a good reminder to do so. Thank you!

[derryderrydown]

I saw you photo of the ship you sail in response to Lucy Bellwood’s sail anatomy and would love to hear more about it! I’ve never seen a square rigger with … is that a tiny crane for loading? So cool!

What's this? An excuse to talk about The Best Barque In The World, SV Tenacious? Well, I don't mind if I do!

First, yes, that is a tiny crane. She actually has two of them, for launching the two RHIBs.

She also has a more traditional derrick, essentially a human-powered crane, which is used for loading heavy stuff and setting up the gangways.

Tenacious is far from being a traditional ship. She was launched in 2000, and is the only tall ship currently operating* that was designed specifically to be sailed by a disabled crew.

This means:

wheelchair lifts throughout the ship

decks wide enough for wheelchairs**

a talking compass, so people with visual impairments can't avoid taking their turn on the wheel!

power assisted steering and a joystick for people with limited dexterity

wheelchair clamps by the wheel, and seating for those who can't stand for long periods. (And for those who just don't want to, when there's a perfectly comfortable chair right there!)

rigging for a harness to allow people with limited mobility to get into the RHIBs

ascender systems that allow wheelchair users to take themselves up the masts. (Here's a photo of someone doing just that last week.)

On the more mundane side, there are showers with seats, handrails and adjustable showerheads. There are two or three clos-o-mat toilets, and the majority of the toilets are wheelchair-accessible. There are bunks which have anchor points for wheelchairs, and lifts to get in and out of the bunk.

More than that, however, is the ethos of the ship. There are no passengers on Tenacious. Everybody is part of the crew. Everybody stands their watch (and if I could get out of the morning watch, 4am-8am, I absolutely would). Everybody does their mess duty. Everybody takes part in happy hour (cleaning the ship - both the romantic stuff of the scrubbing the deck and the less so of scrubbing the toilets).

Everybody is assigned a buddy when they join the ship. If you're disabled, this is the person you turn to when you need a bit of extra help. (I have CFS. On my first voyage, I pushed myself so hard, because I wanted to get the absolute most out of the experience, that I ended up curled up on my bunk and sobbing because I was too tired to go and eat dinner. My buddy went and spoke to the cook and brought me a meal in my bunk.)

However, if your buddy isn't around, you can ask absolutely anybody, and they'll do it without making a big deal of it.

The Tenacious ethos is that everybody has something to offer, and everybody sometimes needs help. It doesn't matter whether you're disabled, currently able-bodied, or just completely unable to remember which bit of string to pull. You'll never be shouted at, and you'll never be made to feel a burden.

If my hard sell has worked and you want to sail on Tenacious - guess what? YOU CAN!

She's owned and operated by the Jubilee Sailing Trust and you can book a voyage on their website. There are bursaries available to help with cost.

*JST used to operate two tall ships. Unfortunately, COVID and financial issues meant the STS Lord Nelson was taken out of service, and is currently sitting semi-derelict in a Welsh dock, hoping for a buyer.

**Unfortunately, she can only take manual wheelchairs. Powered chairs are largely too heavy and too bulky, and also class as a fire risk. (Batteries and a lot of water aren't generally a good combination.)

[deitiesofduat]

what is the relationship and travel between the realms of the living and dead like and how is set able to go there fight a giant snake and go back every night

Admittedly, I haven’t thought so deeply about organizing the physical landscape of the underword Duat versus the living “overworld” of Egypt — at least not in awhile, as it tends to get more confusing the more I try to make sense of it from the mythos. The most I’ve established is the general setting of where and when the story takes place, as in the beginning notes here: https://deitiesproject.com/plot/

As I understand it though, the two realms are supposed to run parallel to each other — in both the mythos and also in DEITIES. Speaking solely for the latter: Mortals are normally unable to perceive, interact with, or otherwise sense the realm of Duat nor the creatures that are linked to it (hence why they cannot see aspects of the soul or most demons, even if they feel their effects). It’s only after they pass on that deceased mortals can perceive Duat, and when certain aspects of their soul make their journey toward the Hall of Ma’at.

Meanwhile, deities and other divine beings (included exalted souls, Akhu) can freely cross realms -- either by using Transportive magic like teleportation or portals, or other points of interest that can produce the same result. [...]

I also recently learned how in many temples and tombs, there are false doors constructed that are believed to connect between the living and divine realm, for gods and deceased souls to enter and exit. It might be cool if in DEITIES, these “false doors” could serve this purpose for divine beings and souls entering/exiting through the realms (provided they are permitted in the given temple at all).

That said, I’m haven’t finalized this all yet, and I’m likely over-simplifying the system from the mythology. I’m also still debating how much of the references I want to bring into DEITIES without them contradicting each other. For example, I want to reference the two mountains of the horizon — Manu and Bakhu — that mark where the Solar Barque sails one way east to west across the heavens during the day, and then sails back west to east during the night.

(This is how Set can fight “that giant snake” every night and go back, to answer your second question. However, I like to think that Set and other guards can sometimes use a designated portal or gate to meet up with the Barque when it first re-enters Duat, and then they dismount when it returns to the heavens -- if it’s not necessary for them to spend all day on it to perform their main guarding duties).

However, this all implies that the waters of nun extend from west to east — perpendicular to the actual Nile River in Egypt, not “parallel” at least in a literal sense. Even then, is it really a river, or a bottomless body of water where chaos and demons originate from? Furthermore, where is the solid land of “Duat” situated in all this talk of water? Or the Twelve Gates of the underworld to mark each hour? Or the Hall of Ma’at, and the “Fields of Gold” paradise of Aaru? Or the Lakes of Fire guarded by Babi and other demons? Or the—

Ahem, you see where I’m getting though, right? 😂 Suffice it to say, I don’t have a concrete answer for how everything is organized quite yet between the realms of Duat and Egypt, because there is so much to work with, and I probably won’t for some time. For now, I’m fine leaving it as an unknown or up to audience interpretation, until I’m ready to sit down and deep dive into this part of the mythos again. 

[transparentgentlemenmarker]

La chapelle interdite Kapelleninsel und Amorinsel Monrepos, Baden-Württemberg, Allemagne. Quiconque se tient sur la rive du lac du château de Monrepos l'a en vue : la chapelle idyllique située sur une petite île. Il est permis d'en faire le tour en barque ou en pédalo, mais il est interdit d'y pénétrer - l'île est devenue une réserve ornithologique, tout comme sa voisine, l'île de Cupidon. Son histoire le village anglais de Hohenheim était un village artificiel composé de 60 petites architectures (échelle 1:4) sur le terrain du jardin exotique de l'université de Hohenheim. Le village (ou Dörfle) fut construit à partir de 1776 par le duc Karl Eugen et son épouse Franziska von Hohenheim comme "colonie rurale au milieu des ruines d'une ville romaine" et désigné comme "village anglais" car inspiré par les modèles anglais de l'art des jardins. Après la mort du duc en 1793, le village anglais tomba en ruine, et la chapelle néogothique fut déplacée au début du XIXe siècle sur une île lacustre du château de Monrepos à Ludwigsbourg. Si la petite chapelle est bien visible en hiver, on ne peut que deviner en été la nef bombardée pendant la Seconde Guerre mondiale. Depuis longtemps, la nature a pris le relais, les arbres et les buissons ont recouvert les épaisses pierres et donnent à l'architecture l'atmosphère d'un lieu enchanté, mais qui fait aussi un peu frémir.

The Forbidden Chapel Kapelleninsel und Amorinsel Monrepos, Baden-Württemberg, Germany. Anyone who stands on the shore of the Monrepos castle lake can see it: the idyllic chapel on a small island. It is possible to go around it in a boat or pedal boat, but it is forbidden to enter - the island has become a bird sanctuary, just like its neighbour, Cupid Island. Here is its surprising history: The English village of Hohenheim was an artificial village consisting of 60 small architectures (scale 1:4) on the grounds of the exotic garden of Hohenheim University. The village (or Dörfle) was built from 1776 onwards by Duke Karl Eugen and his wife Franziska von Hohenheim as a "rural settlement amidst the ruins of a Roman city" and was designated as an "English village" because it was inspired by English models of garden design. After the duke's death in 1793, the English village fell into ruin and the neo-Gothic chapel was moved to a lake island of Monrepos Castle in Ludwigsburg in the early 19th century. While the small chapel is clearly visible in winter, in summer the nave, which was bombed during the Second World War, can only be guessed at. Nature has long since taken over, trees and bushes have covered the thick stonework and given the architecture the atmosphere of an enchanted, but also somewhat frightening place.

December 16 2022

[barque-aluminium-la-maltiere]

Depuis plus de 20 années, La Maltière est une fabrique artisanale française de barques de pêche et de bateaux en aluminium soudés.

Chaque barque aluminium peut s’adapter à la demande du client. Ainsi, Chaque barque est entièrement fabriquée dans notre atelier à Levaré, Mayenne. La barque de pêche que nous proposons est une coque à fond plat.

Chaque barque est homologuée C.E et peut être immatriculée en catégorie D. Aussi, Chaque barque est une coque à fond plat soudée en fine épaisseur afin d’assurer une légèreté inégalée.

– Barque légère – Embarcation stable – Barques entièrement adaptables – Barque en aluminium, faite à la main, construite pour durer

[superhyp01]

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[the-eternal-quest-for-balance]

The tall ship Elissa is a three-masted barque. She is based in Galveston, Texas, and is one of the oldest ships sailing today. Launched in 1877, she is now a museum ship at the Texas Seaport Museum. She was designated a National Historic Landmark in 1990. The Texas Legislature designated Elissa the official tall ship of Texas in 2005.

Elissa was built in Aberdeen, Scotland as a merchant vessel in a time when steamships were overtaking sailing ships. She was launched on October 27, 1877. The vessel was named for the niece of Henry Fowler Watt, Elissa's first owner,[4] though according to his descendants the ship was named for the Queen of Carthage, Elissa (more commonly called Dido), Aeneas' tragic lover in the epic poem The Aeneid.[citation needed]

Elissa also sailed under Norwegian and Swedish flags. In Norway she was known as the Fjeld of Tønsberg and her master was Captain Herman Andersen. In Sweden her name was Gustav of Gothenburg. In 1918, she was converted into a two-masted brigantine and an engine was installed. She was sold to Finland in 1930 (owned by Gustaf Erikson to 1942) and reconverted into a schooner. In 1959, she was sold to Greece, and successively sailed under the names Christophoros, in 1967 as Achaeos, and in 1969 as Pioneer. In 1970, she was rescued from destruction in Piraeus after being purchased for the San Francisco Maritime Museum. However, she languished in a salvage yard in Piraeus until she was purchased for $40,000, in 1975, by the Galveston Historical Foundation, her current owners.[5] In 1979, after a year in Greece having repairs done to her hull, Elissa was first towed to Gibraltar. There, she was prepared for an ocean tow by Captain Jim Currie of the New Orleans surveyors J.K. Tynan International. The restoration process continued until she was ready for tow on June 7, 1979.

[listadesejosraquel]

Brincos Jour - Après Ski

[worldtouradvicetravel]

Giza Pyramids Combo Tour

Giza Pyramids Combo Tour

Giza Pyramids Combo Tour, By the time you arrive, you will have seen a thousand pictures of the Pyramids of Giza, but nothing compares to actually seeing these historic structures in person.

Giza Pyramids Tomb Tours,The three 4th-dynasty pyramids of Giza, Arabic Ahrmt Al-Jzah, Giza sometimes written Gizeh, were built on a rocky plateau on the west bank of the Nile River close to Al-Jzah (Giza), in northern Egypt. They were once listed as one of the Seven Wonders of the Ancient World. In 1979, the UNESCO classified the Memphis region's ancient ruins, including the Pyramids of Giza, aqqrah, Dahshr, Ab Ruwaysh, and Abr, as a World Heritage Site.

Awake in the shadows of the dazzling extolled Pyramids in Giza plateau, Enjoy your luscious breakfast and your gourmet coffee and by ready to start our Combo tour to visit Giza pyramids, It is an amazing tour around the superior historical sites we only know about it from books, reveal the mysteries of Egypt, with peace of mind. Giza Combo tour was designed for tourists who want to see all the Giza plateau details and not to be in rush, You will meet your private guide ( Expert in Egyptology ) and will be transferred to the Giza pyramids plateau ( Enry in Cheops is optional as the government sell only 300 tickets per day and no one can book it in advance, but in case You want it included You have to bein Giza pyramids area at 7:00AM or at 13:00Pm exactly to be from first tourist booking it, They sell 150 tickets in morning and the other 150 at 13:00PM)

Adorable time for promenading around the pyramids with a nice payoff at the panorama where You will see the three pyramids on one line, riding camels to go in the Sahara ( Egypt desert ) and see the 9 pyramids panorama, enjoy Egyptian traditional tea or a soft drink with the bedouin people ( desert inhabitants )  while you are enjoying to the unrepeated view of Giza pyramids with a background of Giza city.

Retrace history of 5000 years ago & uncover El-Giza pyramids and the Sphinx history and legends, Now it is walking tour behind Cheops pyramid to enter the Solar boat barques museum and then walking tour to arrive  the tomb of Khufu Kha Ef (G7130-7140 ), who supposed to be one of Cheops sons ( Brother of Chephren ), and he carried many titles such as Chief of justice an vizier, not so far from his tomb is located other tombs such as  Meres Ankh tomb and  Seshem Nefer Theti tomb ( LG53 ), Seshem Nefer was the director of the two seats in the mansion of life and secretary of all secret commands of king Cheops, Your guide will take you inside it to explain for you about what is the mastaba and you will see few details of daily life on the walls of the tomb such as a lion attacking another animal but best scenes for daily life are not in Giza pyramids area but they are located in Saqqara pyramid complex area as their colors still preserved, Proceed tour to the valley temple and the mysterious Sphinx.

Dazzling neighbour to the ambiguous Sphinx, with enormous ancient stones, the Valley Temple, Granite and basalt wall blocks, marble floor, The valley temple not only shows models of stunning building practices with megalithic blocks , but gives an idea about Giza plateau age, The temple contains no incised inscriptions or reliefs, Free time for wandering in the temple, then visit the Sphinx, The famous ambiguous Sphinx at Giza is a tremendous statue, sculptured in rock, representing a icon of the ancient Egyptian mythology with body of lion and head of a man to represent the power and intelligence of the king. It is 17 m high and 39 m total length. It was constructed in the reign of Khafre, about 2470 B.C 

After Giza Combo full day tour You will have time to visit the famous local shops either to buy souvenirs or to have idea about the Egyptian handicrafts, then enjoy lunch meal and back to hotel

Note at night We arrange also Pyramids by night ( Sound and light show in front of Giza pyramids and the Sphinx)

Giza Combo Day Tour Includes

- Pick up and drop off  service from your hotel in Cairo by World tour advice private tour guide

- All Giza pyramids Combo day tour transfers by modern Ac van + 40 minutes by camel or horse carriage 30 minutes

- All tickets of entry in Giza pyramids plateau, Valley temple, Sphinx, Solar boat barque museum, 

- Entry inside  two of the following tombs Seshem Nefer Theti tomb, Khufu Kha Ef  tomb or Meres Ankh tomb

- Private English speaking tour guide (Expert in Egyptology )

- Free time for shopping around Giza pyramids area

- Lunch meal at local restaurant included 1 soft drink

- Mineral water on board during the tour

- 1 soft drink in Giza pyramids panorama area in the bedouin camp

Giza Combo Day Tour Excludes

- Anything not mentioned in our Combo tour to Giza pyramids

- Tipping, recommended but not obligatory

For more info

amanywaw@gmail.com

Website

Mobile and what’s App:

002 01090023837