#hatshepsut was Right There...

[minetteskvareninova]

You are LAUGHING. Black people are desperate for aspirational figures and instead of digging into history of subsaharan Africa they are trying to claim the last and most cringefail Egyptian dynasty, and you’re LAUGHING.

(Seriously. Jada, I know you have been trough some shit last year and probably need a pick-me-up, but seriously?! Who the fuck wants the Ptolemies?! That’s like when people claim Peter the Great slept with Menshikov; like, as a queer person, my honest answer to that is “we don’t want them”.)

[calowlmitygoddess]

yt recomended me videos about that cleopatra netflix docu series and i was like interesting, bcs the coversation around it is genuely interesting to me

but then the entire video instead of like being a discussion about it, the guy just kept going on on 'it bad because black ppl in it' and it rubbed me the wrong way. Then i tried to see if any like poc were commenting on the issue, and all the recomended were by white dudes more interested in 'the culture war' instead of the historic erasure.

[specialagentartemis]

I get variations on this comment on my post about history misinformation all the time: "why does it matter?" Why does it matter that people believe falsehoods about history? Why does it matter if people spread history misinformation? Why does it matter if people on tumblr believe that those bronze dodecahedra were used for knitting, or that Persephone had a daughter named Mespyrian? It's not the kind of misinformation that actually hurts people, like anti-vaxx propaganda or climate change denial. It doesn't hurt anyone to believe something false about the past.

Which, one, thanks for letting me know on my post that you think my job doesn't matter and what I do is pointless, if it doesn't really matter if we know the truth or make up lies about history because lies don't hurt anyone. But two, there are lots of reasons that it matters.

It encourages us to distrust historians when they talk about other aspects of history. You might think it's harmless to believe that Pharaoh Hatshepsut was trans. It's less harmless when you're espousing that the Holocaust wasn't really about Jews because the Nazis "came for trans people first." You might think it's harmless to believe that the French royalty of Versailles pooped and urinated on the floor of the palace all the time, because they were asshole rich people anyway, who cares, we hate the rich here; it's rather less harmless when you decide that the USSR was the communist ideal and Good, Actually, and that reports of its genocidal oppression are actually lies.

It encourages anti-intellectualism in other areas of scholarship. Deciding based on your own gut that the experts don't know what they're talking about and are either too stupid to realize the truth, or maliciously hiding the truth, is how you get to anti-vaxxers and climate change denial. It is also how you come to discount housing-first solutions for homelessness or the idea that long-term sustained weight loss is both biologically unlikely and health-wise unnecessary for the majority of fat people - because they conflict with what you feel should be true. Believing what you want to be true about history, because you want to believe it, and discounting fact-based corrections because you don't want them to be true, can then bleed over into how you approach other sociological and scientific topics.

How we think about history informs how we think about the present. A lot of people want certain things to be true - this famous person from history was gay or trans, this sexist story was actually feminist in its origin - because we want proof that gay people, trans people, and women deserve to be respected, and this gives evidence to prove we once were and deserve to be. But let me tell you a different story: on Thanksgiving of 2016, I was at a family friend's house and listening to their drunk conservative relative rant, and he told me, confidently, that the Roman Empire fell because they instituted universal healthcare, which was proof that Obama was destroying America. Of course that's nonsense. But projecting what we think is true about the world back onto history, and then using that as recursive proof that that is how the world is... is shoddy scholarship, and gets used for topics you don't agree with just as much as the ones you do. We should not be encouraging this, because our politics should be informed by the truth and material reality, not how we wish the past proved us right.

It frequently reinforces "Good vs. Bad" dichotomies that are at best unhelpful and at worst victim-blaming. A very common thread of historical misinformation on tumblr is about the innocence or benevolence of oppressed groups, slandered by oppressors who were far worse. This very frequently has truth to it - but makes the lies hard to separate out. It often simplifies the narrative, and implies that the reason that colonialism and oppression were bad was because the victims were Good and didn't deserve it... not because colonialism and oppression are bad. You see this sometimes with radical feminist mother goddess Neolithic feminist utopia stuff, but you also see it a lot regarding Native American and African history. I have seen people earnestly argue that Aztecs did not practice human sacrifice, that that was a lie made up by the Spanish to slander them. That is not true. Human sacrifice was part of Aztec, Maya, and many Central American war/religious practices. They are significantly more complex than often presented, and came from a captive-based system of warfare that significantly reduced the number of people who got killed in war compared to European styles of war that primarily killed people on the battlefield rather than taking them captive for sacrifice... but the human sacrifice was real and did happen. This can often come off with the implications of a 'noble savage' or an 'innocent victim' that implies that the bad things the Spanish conquistadors did were bad because the victims were innocent or good. This is a very easy trap to fall into; if the victims were good, they didn't deserve it. Right? This logic is dangerous when you are presented with a person or group who did something bad... you're caught in a bind. Did they deserve their injustice or oppression because they did something bad? This kind of logic drives a lot of transphobia, homophobia, racism, and defenses of Kyle Rittenhouse today. The answer to a colonialist logic of "The Aztecs deserved to be conquered because they did human sacrifice and that's bad" is not "The Aztecs didn't do human sacrifice actually, that's just Spanish propaganda" (which is a lie) it should be "We Americans do human sacrifice all the god damn time with our forever wars in the Middle East, we just don't call it that. We use bullets and bombs rather than obsidian knives but we kill way, way more people in the name of our country. What does that make us? Maybe genocide is not okay regardless of if you think the people are weird and scary." It becomes hard to square your ethics of the Innocent Victim and Lying Perpetrator when you see real, complicated, individual-level and group-level interactions, where no group is made up of members who are all completely pure and good, and they don't deserve to be oppressed anyway.

It makes you an unwitting tool of the oppressor. The favorite, favorite allegation transphobes level at trans people, and conservatives at queer people, is that we're lying to push the Gay Agenda. We're liars or deluded fools. If you say something about queer or trans history that's easy to debunk as false, you have permanently hurt your credibility - and the cause of queer history. It makes you easy to write off as a liar or a deluded fool who needs misinformation to make your case. If you say Louisa May Alcott was trans, that's easy to counter with "there is literally no evidence of that, and lots of evidence that she was fine being a woman," and instantly tanks your credibility going forward, so when you then say James Barry was trans and push back against a novel or biopic that treats James Barry as a woman, you get "you don't know what you're talking about, didn't you say Louisa May Alcott was trans too?" TERFs love to call trans people liars - do not hand them ammunition, not even a single bullet. Make sure you can back up what you say with facts and evidence. This is true of homophobes, of racists, of sexists. Be confident of your facts, and have facts to give to the hopeful and questioning learners who you are relating this story to, or the bigots who you are telling off, because misinformation can only hurt you and your cause.

It makes the queer, female, POC, or other marginalized listeners hurt, sad, and betrayed when something they thought was a reflection of their own experiences turns out not to be real. This is a good response to a performance art piece purporting to tell a real story of gay WWI soldiers, until the author revealed it as fiction. Why would you want to set yourself up for disappointment like that? Why would you want to risk inflicting that disappointment and betrayal on anyone else?

It makes it harder to learn the actual truth.

Historical misinformation has consequences, and those consequences are best avoided - by checking your facts, citing your sources, and taking the time and effort to make sure you are actually telling the truth.

[thisisthinprivilege]

Obvious troll is obvious

Just got a submission from an obvious-troll who created an entire brand-new account so submit a looooong ask that pretended to be curious about fat liberation or what they called "fat acceptance and the fatosphere"---old terms from about ten years ago that have since been replaced by fat liberation, and a major red flag that this person wasn't actually doing any new reading on the subject.

This obvious-troll wanted to know why if disliking fat bodies isn't an inborn preference, why haven't larger fat people ever in any society in all of history been considered the object of desire and/or the pinnacle of beauty ?

And I'm over here like

and

and

‘The more obese the more admired are the ladies of the harem.’ A.H. Keane, The World’s Peoples: a Popular Account of their Bodily and Mental Characters, Beliefs, Traditions, Political and Social Institutions , London, 1909, p. 175, fig. 102. The Turkish appreciation for fat was widely reported in the nineteenth century and beyond. 

and

Hatshepsut's relief of Parehu, the chief of Punt, next to his fat wife.

and

Chinese Tang art.

and

Wealth--Virupaksha Temple.

Nice try, obvious-troll. But it turns out that "preferences" for body types are not in the same category as one's sexuality. Meaning that when people suggest that fatness can be attractive, they are not threatening or denying some essential part of your sexuality.

Also--and this should go without saying---that even if you don't find someone attractive, they still deserve the same rights as everyone else. Another red flag that you are a troll and not at all honestly curious is immediately reducing the primary goals of fat liberation to fat people wanting to get banged more often. I mean, come the fuck on.

-ATL

[talonabraxas]

“He, He is the God too great to have a name ! He is the inapparent and He is the very apparent. He who the intellect contemplates ! He is also the one seen by the eyes. He is the incorporeal, the multiform, better still, the omniform. Nothing exists which He is not, for everything that exist, everything is Him. From that comes that He has all names, for all things come forth from this unique father. From that comes that He has no name at all, for He is the father of all things.” (ibid)

Amun – An Aurora Filled Sky Talon Abraxas

Amun (Amen, Amon) was the king of the gods. The name means ‘The Hidden One’.

Amun is most commonly shown entirely in human form. Often he is standing or sitting on a throne wearing a red, flat-topped crown with two tall plumes and holding a sceptre in his hand. Amun can also assume the appearance of a ram, his sacred animal. His sacred colours were blue, red, yellow and green and his images are to be found throughout the Nile Valley.

The enormous temple complex of Karnak was the principal home of Amun where he was worshiped as the prominent divine entity. During the New Kingdom, his popularity eclipsed that of other major deities; he was the ‘king of the gods’. The warrior-god Montu was believed to be a manifestation of Amun. A Theban triad consisted of Amun, his wife Mut, and their offspring Khonsu, the moon god. All three had temples at Karnak.

Amun is a god whose attributes are so extensive it lacks the personality of other deities. His role as creator is emphasised in many hymns. He was believed to be self-generated. As a fertility god, he impregnated his mother, the Celestial Cow, to ensure the fecundity of animals and plants. He was closely involved with kingship, and many pharaohs regarded themselves as one of his incarnations and incorporated his name into their own (Tut-ankh-amun).

Amun was also seen as the divine consort of Egyptian queens (‘god’s wife of Amun‘). Queen Hatshepsut (right) presented herself as an offspring of the god during a visit to her mother. His virile strength made him an appropriate deity for ensuring military victory for the pharaoh. Amun was invoked for healing from the bites of dangerous animals and other illnesses. During the New Kingdom, he was a personal-saviour god of ordinary working people, as numerous devotional stele testify. Amun later became synchronised with Re to become Amun-Re.

Many catastrophist writers have attempted to give physical identity to Amun by placing him in the world of chaos. One of the most widespread identifications is the linking of Amun with Jupiter. This is because Jupiter is the largest planet in the solar system and, since Amun was referred to as the ‘king of the gods’, Amun must therefore be Jupiter. This is an unsatisfactory explanation and exhibits a lack of knowledge about the ancient world. How could ancient people possibly know that Jupiter was the largest planet? From Earth it is a mere speck of light in the night sky. It is not even the brightest ‘star’. Excluding the Sun and Moon, the brightest light in the sky is Venus – why wasn’t Venus deemed king of the gods? What of the bright star Saturn or even Mars? If Amun was Jupiter, how do we explain Amun’s tall feathery plumes, his sacred colours, his syncretism with Re (Amun-Re) and epithets such as ‘one whose true form could never be known’? How can any of these apply to Jupiter?

Egyptologists fair no better. They understand Amun’s role in connection with the monarchy, but what is the meaning behind his strange plumes and curious epithets? Their best explanation is to present him as a solar deity – once again they point to the Sun.

The key to physically identifying and understanding Amun lies with his unusual, tall plumes and the colours contained within. They were direct representations of magical celestial lights that were observed the world over in ancient times – a phenomenon we call the Aurora.

The Aurora

The auroras are the Aurora Borealis (Northern Lights) and the Aurora Australis (Southern Lights).

Auroras are striking displays of coloured lights that are often seen over the Earth’s magnetic poles. They occur when the solar wind particles are trapped by the Earth’s magnetic field so they collide with molecules of air in the upper atmosphere (ionosphere). They are a spectacular sight and take the form of rapidly shifting patches of colour and dancing columns of light of various hues. The colours observed depend on several factors such as atmospheric conditions, intensity of the solar wind, temperature and location. The Aurora is always present in almost every area of the sky, but it is usually too faint to be seen except near the North and South Poles. The main colours of the Aurora are blue, yellow, red and green, the very same colours attributed to Amun.

The intensity of the Aurora is dictated by the solar wind, a stream of electrically charged particles from the Sun. When the solar wind blows exceptionally strong, the Aurora increases. The periods of maximum and minimum intensity of the Aurora coincide almost exactly with those of the sunspot cycle, which is an 11-year cycle. When the Sun is in the active phase it can unleash powerful magnetic storms that disable satellites, threaten astronaut safety, and even disrupt communication systems on Earth.

In March 1989, the Sun unleashed a tempest that knocked out power to all of Quebec, Canada, leaving six million people without electricity. Such intense magnetic storms cause spectacular, widespread auroras, even at latitudes as low as Mexico, which is 23 degrees north (similar latitude to Egypt).

As mentioned above 3,000 years ago, at the height of planetary chaos solar activity was far more intense than anything experienced today. Cosmic catastrophe gave way to intense geomagnetic storms and global auroras – seen at all latitudes day and night. They were observed during the day courtesy of the red Sun which gave rise to a twilight world. These shimmering magical lights were personified in the great god Amun.

Hymn to Amun

“Amun, who developed in the beginning, whose origin is unknown. No god came into being prior to Him. No other god was with Him who could say what He looked like. He had no mother who created His name. He had no father to beget Him or to sa: “This belongs to me.” Who formed His own egg. Power of secret birth, who created His (own) beauty. Most Divine God, who came into being alone. Every god came into being since He began Himself. Every being came into being when His being began being. There is nothing outside Him.” (Praise of Amun in the Decree for Nesikhonsu) “None of the gods knows His true form, His image is not unfolded in the papyrus rolls, nothing certain is testified about Him.”

Hymns to Amun, Papyrus Leiden I 350, chapter 200, lines 22- 24.

[moons-dunes]

Patience

For Kinktober - Prompt: Tabletop

18+ Only MDNI

Kinktober Masterlist

Pairing: Steven Grant x female reader

Summary: Steven teaches you a lesson in patience

A/N: This one is quite short. I’ve been having some issues in my personal life and it’s drained my creative energy a fair bit. Hopefully I’ll be back on my feet soon.

WC: ~1k

This work contains: dom Steven my beloved, Cockwarming, mild brief nipple play, rough PiV, sex on Steven’s desk, short and sweet. Please let me know if I missed anything.

“She was quite interesting really, Hatshepsut. Real shame that so many of her statues and paintings were destroyed after her death.”

Steven’s voice was right next to your ear, but your mind was somewhere else entirely.

You were honestly impressed with how casually he was speaking, especially since his cock was buried so deep in your dripping pussy. He might as well have been talking about the weather with how calm and collected he was.

You, on the other hand, were a hot mess. Quite literally. Sweaty and panting.

You should have known better than to bug Steven while he was wrapped up in a book, but you were feeling impatient. You were craving him.

It had started with you just sitting on his lap while he was at his desk, but after awhile he got tired of your incessant squirming and subtle grinding against him.

“You’re going to sit here like a good girl until I’ve finished what I’m doing, yeah?” He had warned as he pushed you up against the desk just to yank your pants and underwear off, removing his own as well before sitting you down on his half-hard cock.

He had the back of your knees hooked over his, leaving your legs dangling out to the sides. One of his arms was wrapped around your middle, holding you tight.

You couldn’t get any friction no matter how much you wanted to.

“Are you listening, darling?” His breath was hot against your ear as he spoke, making the hairs on the back of your neck stand up. “You seemed pretty enthusiastic earlier.”

“Steven… please,” you whined as you let your head fall against his shoulder, breathing hard.

“Do I look like I’m done, my love?” He questioned quietly but firmly, bringing his hand up from his book to pet your hair. “Enough whining. Be patient.”

He shifted his hips ever so slightly, making you tense against him as you tried to choke back another high pitched whine.

You were so sensitive, each little shift of his hips and twitch of his cock was the sweetest kind of torture.

As sweet as Steven was, he could also be absolutely ruthless sometimes.

He went back to turning the pages of his book, pushing his glasses up occasionally while you held back little whines.

It seemed like forever until he placed his bookmark between the pages, putting his book on a nearby chair as he decided to take pity on you.

“Was that so difficult?” He teased as his hands travelled under your pajama shirt, grabbing your tits to massage them. You let out a shaky moan as his fingers pinched your nipples, pulling on them a bit. “Does my good girl want her reward?”

You nodded frantically, crying out as his hips moved again. You couldn’t hold back your whimpering groans any longer as you felt his cock throbbing inside of you.

You sounded so pathetic.

He lifted you off of him to stand up and lay you down on the desk, leaving your soaked hole clenching around nothing. He quickly filled you again as he settled between your legs, resting your calves on his hips.

Steven wasted no time before he started pounding into you, each thrust punching a jerky moan out of you as you finally got the friction you desperately needed.

The sound of the legs of the desk scraping against the floor filled the living room, barely outweighing the sound of skin slapping against skin and your wet pussy.

“Better now, love?” He asked through his moans, smiling down at you. “See what happens when you have a bit of patience?”

“Thank you, thank you,” you rasped, surprised you could even form words.

His hands grabbed your legs, placing your ankles on his shoulders rather than on his hips. The new angle had him hitting that magical spot in you over and over.

“S-Steven!” You stuttered out through a broken whine, your hands scrambling against his shoulders and gripping his shirt tightly.

Your mind was buzzing, head spinning as Steven fucked your sensitive hole.

His chest was pressed against yours, pinning you underneath him. His lips found your neck, sucking marks into your tender skin as his hips slapped against your ass.

“Still so tight for me,” he muttered in your ear, burying his face in your hair with a satisfied moan.

He pushed you further up so he could climb on top of you, letting your legs fall across the edges of the desk as his thrusts grew faster.

Your pussy clenched down hard around him as you came with a shuddering shout, your fingers digging into his clothed shoulders desperately.

“That’s it, love,” he praised you sweetly, his hips stuttering and his thrusts growing shallow as he reached his orgasm. “Such a good girl.”

He kept thrusting hard, both of you moaning against each other.

The legs of the desk kept creaking loud, but it quickly became background noise as Steven fucked both of you through your highs.

Through the haze of your climax you heard a loud crack, then suddenly both you and Steven were on the floor with a crash before you could react.

You both yelped as you hit the ground hard, knocking the wind out of you.

“Sorry, love!” Steven apologized profusely, pulling out of you and pulling you into his arms protectively as he knelt on the floor.

He cradled your head against him, immediately making sure you weren’t hurt. Thankfully you were both okay.

“Bloody cheap furniture,” he grumbled when he saw the broken leg of the desk, now bent underneath the rest of it. “Are you alright?”

You nodded, looking back and laughing when you realized what had happened as your mind cleared. Steven started laughing with you, relieved when he heard your tired giggles.

“Well then,” you chuckled, looking back at him and away from the busted desk. “I guess we won’t be doing that again anytime soon.”

[artifacts-archive]

Foundation Stone with Inscriptions

Egyptian, 1479-1458 BCE (New Kingdom)

Daughter of King Thutmose I and wife of her half-brother, King Thutmose II, Queen Hatshepsut eventually ruled Egypt as pharaoh in her own right. This commemorative stone was placed at a construction site, probably of the temple built for her at Deir el-Bahari, one of the most beautiful monuments of ancient Egypt. It bears the queen's throne name, Maat-ka-re, as well as that of the temple's architect, Senenmut.

[cityof2morrow]

Gallery Collection 001

Published: 2-21-2024 | Updated: N/A SUMMARY This is the first in a series of upcoming investment objects for Sims 2 – things your sims can use to generate income over time. From 1975-2000, Anheuser-Busch, Inc. commissioned 30 paintings of African kings and queens for an extended outreach and marketing campaign. This set of paintings features artwork from this amazing series. Celebrate Black History Month 2024! #co2bhm #bhm2024 #sims2bhm.   *No copyright infringement intended – I own no rights to these images.

DETAILS Requires Sims 2. Requires Apartment Life for shiftability. §1K-15K | Buy > Deco > Wall Hangings Paintings are centered on 1-tile but cover more tiles than that. They come in various gallery sizes and images have been edited to fit the mesh. After purchase, their value increases by approximately 2% daily – watch out for burglars! Files with “MESH” in their name are REQUIRED. Frame recolors include EA/Maxis and yeti textures. Frame and painting recolors are merged into two files so you’ll have to take them or leave them. ITEMS Great Kings & Queens of Africa: Paintings 001-006 (92-764 poly) DOWNLOAD (choose one) from SFS | from MEGA

IMAGES

Akhenaton Pharaoh of Egypt (1375-1358 BC) by Barbara Higgins Bond

Alfonso I King of the Kongo (circa 1486-1543) by Carl Owens (1929-2002)

Askia Muhammaed Toure King of Songhay (1493-1529) by Leo Dillon

Benhanzin Hossu Bowelle—The King Shark (1841-1906) by Thomas Blackshear II

Cleopatra VII Queen of Egypt (69-30 BC) by Ann Marshall

Hannibal Ruler of Carthage (247-183 BC) by Charles Lilly

Hatshepsut The Ablest Queen of Far Antiquity (1503-1482 BC) by Dean Mitchell

Idris Alooma Sultan of Bornu (1580-1617) by Charles Lilly (1949-)

Ja Ja King of the Opobo (1821-1891) by Jonathan Knight

Khama III The Good King of Bechuanaland (1819-1923) by Carl Owens

Makeda Queen of Sheba (960 BC) by Debra Edgerton

Mansa Kankan Musa King of Mali (1306-1337) by Barbara Higgins Bond

Menelek II King of Kings of Abyssinia (1844-1913) by Dow Miller

Moshoeshoe King of Batsutoland (circa 1786-1870) by Jerry Pinkney

Mwana Ngana Ndumba Tembo—Ruler of the Angolan Tchokwe (1840-1880 circa) by Kenneth Calvert

Nandi Queen of Zululand (1778-1826 AD) by HM Rahsaan Fort II

Nefertari Nubian Queen of Egypt (192-1225 BC) by Steve Clay

Nehanda of Zimbabwe (1862-1898) by Lydia Thompson

Nzingha—Amazon Queen of Matambo (1582-1663) by Dorothy Carter

Osei Tutu King of Asante (circa 1650-1717) by Alfred Smith

Queen Amina of Zaria (1588-1589) by Floyd Cooper

Samory Toure The Black Napoleon of the Sudan (1830-1900) by Ezra Tucker

Shaka-King of the Zulus (1787-1828) by Paul Collins

Shamba Bolongongo African King of Peace (1600-1620) by Roy LaGrone

Sunni Ali Beer King of Songhay (circa 1442-1492) by Leo Dillon

Taharqa King of Nubia (710-664 BC) by John Thomas Biggers

Tenkamenin King of Ghana (1037-1075 AD) by Alexander Bostic

Thutmose III Pharaoh of Egypt (753-712 BC) by Antonio Wade

Tiye The Nubian Queen of Egypt (circa 1415-1340 BC) by Leonard Jenkins

Yaa Asantewa Queen of Ghana (1863-1923) by Barbara Higgins Bond CREDITS No copyright infringement intended – I own no rights to these images. Artwork and trademarks are the property of their respective creators and/or owners. If this exceeds fair use, please contact me via private message. Thanks: Simming and Sketchfab Communities. Sources: Any Color You Like (CuriousB, 2010), Beyno (Korn via BBFonts), Console Certificates (d_dgjdhh, 2019; 2011), EA/Maxis, Gyeongbokgung Sajeongjeon Painting (National Heritage Administration, 2024 via CCA; Sketchfab), Great Kings and Queens of Africa Series (Anheuser-Busch, Inc., 1975-2000; Kentake, 2016), Offuturistic Infographic (Freepik), Painting by Zdzislaw Beksinski (Sosnowski, 2018 via CCA), Yeti Metals (Shastakiss, 2017).

[asha-mage]

"Sid Meier's Civilization is actually about a group of immortal god kings condemned to forever struggle against each other in a never ending cosmic game in which their empires and nations are but pawns" gets brought up as a funny 'ha ha' joke about Civ, but the thing is that is the most supported reading of the game's mechanics, writing, art direction, and even trailers.

But what's really funny is that each new installment leans harder into this idea then the last. With Civ 7 making it so that leaders aren't even tied down to their 'historic' civilizations (meaning you can't even argue the 'national personification' thing anymore) and since Civs can change while leaders can't, that means that leaders are also the only constant across an entire campaign.

This means, for example, in the universe of Civilization, the likes of Gaius Octavius, Hatshepsut, Napoleon, and even Gandhi are constantly reborn, take up leadership of a small singular village, live for uncountable eons (unless slain by another Leader or dethroned), rebuild the same nation, people, empire over and over and over again with only slight variations, until one achieves victory over the others (be it by sending their people into the stars, building a society that culturally subsumes all others, conquering the world, or otherwise somehow 'winning history' by the metrics they held dear in their mortal lives) and gains...nothing as far as we know.

We don't know if they wither to dust instantly Gothel style, or reign until the heat death of the universe, or begin aging and live out a mortal life for however long remains to them. All we know for certain is that they are right back there again at the stone age as soon as the next game starts, becoming chiefs of a tribe of thatched roved houses on some unrecognizable landmass, with nothing to do but start all lover again from scratch. Build the same walls and monuments and wonders, fight the same endlessly shifting battles against the same rivals. Maybe this time Rome is stamped out in antiquity, and maybe this time is launches the first space colony. Maybe Egypt raises up the pyramids once more, and maybe they raise up the Colossus, or the Hanging Gardens, or Statue of Liberty, or the Sydney Opera House. Maybe Napoleon's France finally achieves perfect ideal democracy, or maybe his warring ways lead a coalition of Japan, China, the Gauls, and Sumerians facing off against him all over again. Maybe Gandhi decides mutually assured destruction is the only way to protect world peace. The names change, the lands and continents change, the ages change, eventually even the civilizations themselves change- Gaius finds himself the Emperor of Egypt and Hatsheput the Queen of the United States of America- but the only thing that doesn't change is the leaders. Their configurations vary and sometimes they face off against a newcomer they haven't before, but always it ultimately comes back to a group of immortal rulers- the great and the good, the wicked and the genius, the mad and the unlikely, and the just plain lucky that one and all ended up in the history books- who keep trying to take one more swing, one more run, one more turn at fulling the ambitions of their mortal life, and leading their people to glory.

Because the only way to break the cycle, to the end the game (both in universe and out) is to stop playing. Give up. Stop pushing that glowing little arrow button. Stop following the ambitions, the ideals, the dreams, the hopes that lead them here in the first place.

But just like Civ players and just like humans in general, they never do.

[egypt-museum]

Chapel of Hathor, Deir el-Bahari

New Kingdom, mid 18th Dynasty, ca. 1479-1425 BC. Painted limestone. Height 225 cm, width: 157 cm, depth: 404 cm. Egyptian Museum, Cairo. JE 38575. Ground Floor, Room 12.

The shrine of Hathor and the cow’s statue were retrieved from under heaps of debris south of the Mortuary Temple of Hatshepsut at Deir el-Bahari. The shrine is from the reign of Thutmose III. Its roof is painted blue with yellow stars to imitate the Vault of Heaven.

The statue of Hathor as the divine cow, in the middle of the shrine. It is inscribed for Amenhotep II, Thutmose III’s son and successor. Hathor’s head is surmounted by a uraeus, a solar-disc, and two short plumes. Amenhotep can be seen twice in the statue. Once at the front beneath the cow’s head. The second time depicted as a young boy nursing beneath the cow’s right side.

Read more

[antiquitiesandlabyrinths]

Hapshepsut?

Oh, you guys are funny. I make a note in my post about the oddity of people coming into my inbox with a single word prompt and that I have no idea how to respond except with a handful of information about the prompt, and now it's a real thing? That's just what I'm supposed to do?

Well, I might as well do so.

The modern legacy of Hatshepsut is dominated entirely by her womanhood. It completely disregards all of her accomplishments as a great and wealthy Pharaoh presiding over a time of great prosperity for Egypt, and it also overlooks the political and cultural climate of the time, which is as confusing as it is complicated.

This is much longer than my previous go about Ramses I, so I'm putting it under a read more.

Hatshepsut's Beginnings

When the layman thinks of Hatshepsut, they will think that she is the first female ruler of Egypt. This is their first mistake. There were many regents of Egypt; mothers who ruled on behalf of their young sons, who were not yet old enough to fully claim the throne. Beyond that there was also the female King Sobekneferu (12th Dynasty), as well as two Queens very early on in Egyptian history who might've been Pharaohs in their own right; Neithhotep (Early 1st Dynasty) and Merneith (1st Dynasty), both named for the warrior Goddess Neith, who held considerable importance in early Egyptian history. Both of these Queens have inscriptions and monuments attesting to their rule, but due to a lack of complete concrete evidence, it is difficult to now say whether they were regents or Pharaohs. Sobekneferu, from the 12th dynasty, was the first woman to take on the full royal titulary, assuming the position and title of Pharaoh completely. While her existence and rule is fully affirmed, there is little evidence left in the way of her accomplishments, as she ruled as the last Pharaoh of the 12th dynasty.

Khnumetamun Hatshepsut herself was born in 1507 BC to the Pharaoh Thutmose I and his Great Royal Wife, Ahmose. Her name, meaning 'Foremost of the Noble Women' was suiting to her––later in life she would be married to another one of her father's sons, Thutmose II, who was birthed of a secondary wife named Mutnofret. She was married before the age of 20 and assumed the highest standing title a woman could gain at the time; the God's Wife of Amun, giving her more power than even a Queen could achieve. To understand the importance of Hatshepsut even at this time, we must understand what it was to be the God's Wife of Amun. And remember, all this power and prestige is before she ever even became regent to her husband's son.

The God's Wife of Amun was a position held in Thebes, modern-day Luxor, and called Waset in ancient times. The title originates from the Middle Kingdom, and at that time, it was merely an honorific title for a noble woman who assisted the High Priest of Amun at Karnak Temple in his duties. By the New Kingdom, which was Hatshepsut's time, the God's Wife of Amun was powerful enough to influence policy and held considerable power and prestige, the peak of which was reached in the 3rd Intermediate Period, when a God's Wife of Amun ruled over Upper Egypt. The typical duties of a God's Wife of Amun were that of a high priest, and she would essentially be the female counterpart of the high priest of Amun, and took on many of his responsibilities alongside him. But the rewards for it were also plenty: "tax-exempt land, housing, food, clothing, gold, silver, and copper, male and female servants, wigs, ointment, cosmetics, livestock, and oil." (God's Wife of Amun, World History Encyclopedia, Joshua J. Mark) She would preside over the festivals of Amun and would be considered His consort, making her a divine being.

So this was Hatshepsut's position which was gifted upon her around the same time she was married to her half-brother, Thutmose II. Together they had a daughter whose name is Neferu-Ra, but this was their only child. The only viable heir to the throne after Thutmose II would have to be a son, which only came about through Thutmose II's lesser wife, Isis, who birthed Thutmose III. But Thutmose II, Hatshepsut's husband, died relatively soon after Thutmose III came to be, and so Thutmose III, the young son, could not fully be given the throne. Instead, Hatshepsut was made regent, and assumed all duties of state and Pharaoh while Thutmose III was growing up.

Proclaiming Herself Pharaoh

It was in the 7th year of her regency that the well-known history occurred. Hatshepsut crowned herself sole Pharaoh of Egypt. She assumed all royal titularies, titles, and names befitting a Pharaoh, but inscribed all of these using feminine forms. She passed down her title of God's Wife of Amun to her daughter, Neferu-Ra, and had her married to Thutmose III, likely in an attempt to consolidate power, and began to carve images of herself as a male Pharaoh.

I have commented on Hatshepsut before because some people like to claim that Hatshepsut is the world's first transgender person. This is incorrect. If she had wanted to represent as male, she would've gone about it differently, and to begin with, she would've changed her name. As I stated earlier, her name means "Foremost of the Noble Women"; this is a female name, and it would've been obvious to any Egyptian of the time that this was a woman. Instead, her representation as a male was to ensure the people knew she was not a Queen, but a full-fledged Pharaoh. And as I mentioned just previously, all her names and titles used feminine grammatical forms.

She is a complicated character, and one that will likely never be fully understood. But one certain thing about Hatshepsut was that she was smart. By marrying her daughter to the 'King' Thutmose III, she created a safety net for herself; if she was removed from the throne and Thutmose III was crowned, then she would still hold considerable power as the mother-in-law of the Pharaoh. She further legitimized her rule as Pharaoh by proclaiming that she was not just Amun's ritual wife, but His daughter, as well.

In the carvings and paintings in Hatshepsut's mortuary temple at Deir el-Bahari, Hatshepsut tells the story of how Amun appeared to her mother, Ahmose, in the form of Thutmose I, her father.

"He [Amun] in the incarnation of the Majesty of her husband, the King of Upper and Lower Egypt, [Thutmose I] found her sleeping in the beauty of her palace. She awoke at the divine fragrance and turned towards his Majesty. He went to her immediately, he was aroused by her he imposed his desire upon her. He allowed her to see him in his form of a god and she rejoiced at the sight of his beauty after he had come before her. His love passed into her body. The palace was flooded with divine fragrance." (van de Mieroop, 173)

This interaction made Hatshepsut a demi-God. But this was also not enough; she made claims that Thutmose I, her father, made her a co-ruler with him.

"Then his majesty said to them: "This daughter of mine, Khnumetamun Hatshepsut—may she live!—I have appointed as my successor upon my throne... she shall direct the people in every sphere of the palace; it is she indeed who shall lead you. Obey her words, unite yourselves at her command."" (Seawright, Caroline (6 November 2000). "Hatshepsut: Female Pharaoh of Egypt")

She claimed that Amun had sent an oracle foretelling of her rise to power.

"Welcome my sweet daughter, my favorite, the King of Upper and Lower Egypt, Maatkare, Hatshepsut. Thou art the Pharaoh, taking possession of the Two Lands." (Breasted, James Henry (1906). Ockerbloom, John Mark (ed.). Ancient Records of Egypt: Historical Documents from the Earliest Times to the Persian Conquest)

She also represented herself as the direct successor of the Pharaoh Ahmose I, who started the 18th Dynasty.

That last bit may seem unimportant if you do not know the history behind Ahmose I. Ahmose I came about during the 2nd Intermediate Period, a time in which Egypt was split into three sections. Lower Egypt, the delta, which is to the north, was ruled by foreigners––the Hyksos, who were much despised by the native Egyptians, who ruled only a section of Egypt from Thebes. Then far the south, the Nubians ruled their own section of Egypt. What's important here, however, is the Hyksos rule. The Hyksos were commonly referred to as the Asiatics, and likely originated from the Levant, referring to themselves with Western Semitic names. They were seen as cruel and oppressive rulers, and while this was likely far from the truth, when we concern ourselves with the cultural standpoint of 18th Dynasty Egyptians, we only need to understand their viewpoint and opinion of the Hyksos. Ahmose I, ruler of Thebes, successfully drove out the hated Hyksos from Egypt, and reinstated Theban rule over the delta in Lower Egypt. These actions made him a much-beloved figure in the eyes of the ancient Egyptians, and this is why Hatshepsut proclaiming herself as a direct successor of Ahmose I was a smart move––she correlated herself with freedom from oppression and a somewhat legendary figure, who had ruled over Egypt some 80 years previous to her.

Actions As Pharaoh

Consolidating her rule, gaining power, and ensuring that power would stay were not the only things she accomplished, even if that is what most people recognize her for. She also completed a staggering amount of construction projects for temples, protected the borders of Egypt, led military expeditions into Syria and Nubia, and a rich trading expedition to the mythical land of Punt, which is presumed to be somewhere in modern-day Somalia. She was in control of a massive amount of wealth, without which it would not have been possible to assume so many building projects.

"Hatshepsut was able to exploit the wealth of Egypt's natural resources, as well as those of Nubia. Gold flowed in from the eastern deserts and the south: the precious stone quarries were in operation, Bebel el-Silsila began to be worked in earnest for sandstone, cedar was imported from the Levant, and ebony came from Africa." (Betsy M. Bryan, Shaw, 229-231)

Inscriptions at her mortuary temple in Deir el-Bahari go into detail about her expedition to Punt, as well, describing an immense amount of wealth.

"The loading of the ships very heavily with marvels of the country of Punt; all goodly fragant woods of God's Land, heaps of myrrh-resin, with fresh myrrh trees, with ebony and pure ivory, with green gold of Emu, with cinnamon wood, Khesyt wood, with Ihmut-incense, sonter-incense, eye cosmetic, with apes, monkeys, dogs, and with skins of the southern panther. Never was brought the like of this for any king who has been since the beginning." (Lewis, 116)

Her temple was such an immense work of art that it is considered by many to be one of the finest temples in Egypt, whose craftsmanship exceeded any Pharaoh before her and was only ever matched by Ramses the Great (Ramses II). She built throughout the country to such an extent that there are very few museums who concern themself with Egyptian history who do not have a piece of Hatshepsut's work. She added tremendously to the complex of Karnak at Thebes for the glory of Amun, and erected two giant obelisks there, alongside many other obelisks raised in other parts of the country. The Karnak complex is made up of three different precincts; the precinct of Amun, the precinct of Montu, and the precinct of Mut. The precinct of Mut had been ravaged during the Hyksos rule, and so Hatshepsut rebuilt and restored Mut's great temple in Thebes, once again honoring the Gods with her wealth.

Overall, she was an immensely successful Pharaoh. She added to the great temples of Egypt and built new temples, simultaneously giving honor to the Gods and employing the people. In these temples she performed rituals and rites traditionally reserved for the Pharaoh, which further confirmed her power and status reigning as a male Pharaoh. She led conquesting military campaigns into Syria and Nubia, protected the borders of Egypt from foreigners, conducted highly successful and bountiful trades with the people of Punt, who were highly rich in gold, and built one of the most beautiful and iconic mortuary temples known today, influencing the location of the future Valley of the Kings.

Death of Hatshepsut

Hatshepsut's death is unfortunately not well understood. Her body was moved several times due to complications with lineage, burial, and the right to the throne. There is a mummy that is proposed to be Hatshepsut. This mummy has a missing tooth in her jaw, and Egyptologists are in possession of one of Hatshepsut's teeth, found in one of her canopic jars. The empty space and the tooth fit perfectly together, so it is proposed that this mummy is Hatshepsut. However, later on, the tooth was identified to be a molar from the lower jaw, whereas the missing tooth from the mummy is in the upper jaw. There is a lot more to this than I am writing about; this is the simplified version because there's a lot of scientific know-how one needs to fully understand the complications of trying to identify a nameless and displaced mummy.

If this mummy is Hatshepsut, then Hatshepsut died from bone cancer. Queens in the family of Hatshepsut are known to have had genetic skin irritation, and the lotions used by the Pharaoh were a carcinogenic, benzopyrene skin lotion, meaning that over time, as Hatshepsut attempted to soothe her irritated skin, she would've been giving herself cancer. Alongside that, she also had bad teeth, which is why one tooth is gone from her jaw––it was removed, and later caused an abscess, which may have also contributed to her death.

Removal from History

Eventually, as we all know, Hatshepsut was stricken from the record. Her names were carved out, smoothed over, or replaced with the names of her step-son, Thutmose III, who took over as Pharaoh when Hatshepsut passed into the west. Many images and statues of her were dismantled, destroyed and buried, and there was an attempt to wall up her monument at Karnak. The majority of this historical re-writing took place at the end of Thutmose III's reign, when he was co-reigning with his son, Amenhotep II.

It is not entirely clear why this was done, but there are several theories, and I find it likely that they were all true in some way, and all contributed to the defacing of Hatshepsut's legacy. For one, rule of Egypt is a traditionally male role, as is shown in the first king Osiris and His wife, Isis, who were mythologically the first to rule over Egypt. Egypt was very dependent on the idea of Ma'at, which represents truth, justice, and most importantly, balance. Having a female Pharaoh was an upset of the balance and an upset of tradition, so it might've been seen as prudent to erase Hatshepsut's memory of female rule. Another factor is that the reusing of monuments was a common and popular practice of Pharaohs; they would take the already-built monuments of previous Pharaohs and inscribe their own names in them, claiming they were built by them. This saved money and resources. The last factor that I would consider a prime reason would be Thutmose III's son, Amenhotep II.

Amenhotep II had a very shaky claim to the throne. He was not the son of the Great Royal Wife; instead, he was the son of a lesser wife, Merytre-Hatshepsut. Amenhotep II was also not the eldest son. The eldest son of Thutmose III was born of the Great Royal Wife Satiah, and his name was Amenemhat. But both Satiah and Amenemhat died, and so Amenhotep II was who Thutmose III resorted to when it came to passing on the throne. Amenhotep II, who was insecure in his claims to the throne, usurped many of the accomplishments, deeds, and monuments of Hatshepsut. He neglected to record the names of his Queens, and he eliminated the giving of power to women, erasing the titles of the Gods Wife of Amun, and other such positions which had the chance to give any power to women. In my opinion, truly an unpleasant man. But fortunately these titles were restored by his son Thutmose IV, and we are not here to talk about Amenhotep II.

Overview

Hatshepsut was a great Pharaoh who accomplished great things and presided over an incredibly prosperous time in Egyptian history. This is likely why her name was stricken from the record and the name of Sobekneferu, the previous Queen-Pharaoh, was not. Sobekneferu presided over a time of chaos, so it was not important to remove her, as her rule could stand as an example as to why it was against Ma'at for a female to rule as Pharaoh. But Hatshepsut was extremely successful, and for that, she was removed. She built great monuments, added to the prosperity and health of the people, honored the Gods, and was one of the most powerful Pharaohs in Egyptian history. We will likely never know why she did all of this; why she was dissatisfied with her position as the God's Wife of Amun, why she proclaimed herself Pharaoh over her husband's son. But nothing bad seemed to ever come from her reign, and she is now remembered as one of the most iconic figures in ancient Egyptian history.

[pimosworld]

The sun and the moon

🌙Pairing-Moon boys x f!reader x Khonshu x Hathor

🌒Chapter Summary- You and the boys celebrate your new job. Marc’s past trauma threatens to derail what the other so desperately want with you. Khonshu makes his presence known in only ways he knows how.

🌔CW-18+,MDNI,NDFW, friends to lovers, Angst,Fluff,Insecurities,flashback sequence, POV switch, inaccurate depiction of DID,kissing,lots of flirting.

🌑WK-4.2k

A/N-I hope you like our first installment. I don’t know why I love writing Marc so angsty but I promise he will come around. Steven takes the lead in this because I’m a sucker for him and Jake is his ever charming self.

Not beta read

[Series Masterlist][Main Masterlist]

Chapter 1

  ”I am the one who guides the great ones who are lost and exhausted on the roads of the reborn…

Who guides those who are lost in the underworld,

I am Hathor, Queen of the northern sky,

Who watches over the reborn,

I am a haven of tranquility for the just,

A ferry for the chosen.”

You never imagined you’d find yourself running through the halls of the British museum. You couldn’t contain your excitement of finally being told you got the job. You knew Steven would be leading a tour but he insisted you find him when you got the results. Good or bad. 

  The curator that was retiring was highly impressed with your knowledge. You thought the job offer would be to assist. You were ecstatic when she told you she wanted you to take over the catalogue of all the new exhibits in the museum. 

  It always came natural to you, the research and the fascination of every ancient civilization. Egypt in particular held your interest. There was a connection you couldn’t describe when you thought about it. Having met Steven and bonding over your shared obsession made you feel a little less awkward. 

  You always felt a little more like yourself around them. 

  Steven could invariably sense it before he even laid his eyes on you. It always started the same - a subtle yet undeniable sensation. A cascade of warmth starting from the top of his head emanating through his body. It was indescribable the reaction you elicited from each one of them, all varying in forms. 

  He’s meandering through the new Hatshepsut exhibit on a break in between tours when you find him. All bright and blazing smiles, hardly able to contain your excitement. He already knows what you’re going to tell him. You didn’t need his help but Jake would’ve called him all sorts of Spanish curses if he had turned down your request to help prepare for the interview at the museum all those weeks ago. 

  Some might call his love for ancient Egypt neurose but that’s what led you to him. It’s very likely you would be another stranger to him if his obsession hadn’t caused him to start his incessant babbling that fateful day in the coffee shop. 

  A beautiful creature like you, arguably the most beautiful he’s ever seen. Sitting in the shop he regularly frequented, seated in the corner to catch the only ray of light. Illuminating in your hands a special edition novel on some obscure topic. You quietly giggling to yourself as you read. 

  Jake stayed uncharacteristically quiet while Steven rambled to you about all the secret facts that were never printed. This was his forte and who was Jake to overtake this conversation that you seemed to enjoy. You took to him like you were long lost friends. 

  You took to all of them (well most of them) with such great ease…but one thing at a time. Let’s start with Steven. 

  Your sweet Steven, his posture slightly slouched. Hair a little disheveled and clothes not very firm fitting. But right now he’s standing tall, deft hands in his pockets and his hair with a bit of product. He always took care of his appearance as a tour guide. He stood a little straighter, spoke a little firmer…more assured. 

  He’s looking at you like that now as you approach him. A slight smirk on his face because he knows but he wouldn’t dare ruin your moment. 

  It’s hard to describe the feelings you have when you’re around them. It’s much easier to express how you feel when you’re not with them. Incomplete, fragmented,dimmed. 

  It’s like the opposite of a heartbreak when you see him. 

  “I have some great news.” You’re bouncing on your feet as you half whisper, trying not to draw attention from the other people in the exhibit. 

  She’s adorable 

  Jake is ever present when you are around and Marc as well but he mostly stays silent. 

  “I got the job.” You clap your hands over your mouth to suppress the squeal that you want to let out. 

  It feels wrong not to hug you at this moment. He’s not sure how you’d feel about it now that you’re coworkers but the way you step closer, he can’t resist as he pulls you into his arms. 

  You melt as he mumbles praises into your hair. He’s overwhelmed by the smell of citrus and vanilla as he realizes this is the closest your bodies have ever been. A different kind of warmth spreads over him now as he breaks away from you before ruining this moment with an awkward explanation about the male anatomy.

  “I’m so proud of you.” He says while he still holds your hands in his, a safe distance from you now. 

  “I couldn’t have done it without you Steven.” 

  He nervously adjusts the collar of his shirt as the redness creeps up his neck at the compliment. 

  “Nonsense love, you’re a natural.” 

  It was a regular term of endearment from him but it always made you all giddy inside. You never read too much into each of their special names for you. The countless times Jake called you hermosa or when Marc let the occasional sweetheart slip from his lips. 

  You nervously fidget with the hem of your blouse as the conversation lulls for a moment. “Well I should let you get back to work.” You reach up and give him a kiss on his cheek before you can talk yourself out of it as you hear a sharp intake of breath. 

  He watches you briefly as you walk away, he’s stuck in a trance trying to process what just happened. 

  “We should celebrate!” He didn’t really mean to shout it at you. The way all eyes turn to him including you has him wanting to crawl into the nearest sarcophagus. 

  You smile at him as you exit the exhibit and the light in the room dims a little as he patiently waits for the responses from his head mates about how bonkers he is. 

  His phone buzzes lightly in his pocket and his heart skips a beat when he sees your name appear on the screen. 

  You:My place or yours 

  Mine-S

  Steven can feel Jake and Marc at the forefront,along with a mixture of emotions.

  Worried,jealous,excited,anxious. They may be unique in their own way, but they share a brain and a body. Steven wasn’t usually the vanguard in these situations but something about you makes him feel confident. A way he’s never felt before, and he’s never been more sure than he’s been about you. 

  ****

  No one drinks your tea hermano.

  Steven huffs as he opens the door to the small coffee shop on the corner. “Whatever you say mate. I know I didn’t drink the last of it.” He doesn’t normally get this miffed but he’s been a lot more stressed at work lately with all the new responsibilities. 

  You wanted those responsibilities.

  Buzz off Jake.

  A poor old woman turns to him wide eyed. Steven quietly apologizes to her as he tucks his cold hands in his jumper. He just wanted to get some hot tea and be on about his day. Unsure of what he would even do…most likely research for the tours. It sure beats being yelled at by Donna who thinks she’s still Stevens boss. 

  The barista offers him a polite smile as he steps up to the counter. “I’d like the rooibos chai tea please.” He slides her some bills before she can tell him the total and quickly steps aside. 

  It’s warm and his hands are clammy. He rolls up the sleeves of his jumper as he idles by the window, somehow in everyone’s way and not in the way at all. He doesn’t remember it being a particularly sunny day when he left the flat but it seems the shop is ten shades brighter. 

  He glances around nervously as he hears some soft laughter just to his left. A book. A girl. In the corner. 

  Talking to strangers about Egypt at work was one thing. For starters he got paid to do it and he truly loved it. It’s an entirely different thing to do in public, some might say peculiar to strike up a conversation unprovoked. It’s no matter anyway as his feet carry him to your warm nook in the shop. 

  “That copy must have cost you a small fortune.” He says as he slides into the seat next to you. 

  You laugh as you dip your head. “Would you believe me if I told you I found it at a thrift store.” You turn it over in your hand as you brush your fingers down the spine. “Obviously I had to snatch it up before they realized what they had.” 

  He knows he’s the one who approached you but now he can’t actually believe you’re talking to him. Without even missing a beat. You haven’t returned your attention back to the book as you stare at him like you're studying his movements. Your eyes sparkle as you lift your coffee to your lips and blow before taking a sip. 

  “So what chapter had you particularly giggly over here.” He teases as you hold the book against your chest. 

  You lean in and he forces himself not to look at your slightly open blouse.“I’m afraid the god of Min is not one to be discussed out loud.” Your breath ghosts over him as you whisper in his ear. He can feel the heat flush over his body from your close proximity. 

  You slide the book towards him and tap your finger on the page. He tries to focus on reading it but he notices you haven’t pulled away. 

  Min was often depicted as a mummiform human man with an ithyphallic (uncovered erect) penis. Wearing a crown adorned with two feathers. In his left hand he holds his penis ( although this is usually only apparent in statues because of the perspective applied to two dimensional images in Egyptian art) in his right hand he holds a flail up above his shoulder representing power and fertility. 

  You lightly tap him on his shoulder and he looks up to see you gesturing to the young barista excitedly waving him over. She’s a bit squirrelly when he approaches to retrieve his coffee and he thinks perhaps she’s consuming too much of the shop's supply. 

  What are you doing hermano?

  I haven’t the slightest idea mate.

  Well keep it up, it seems to be working.

  He doesn’t want to intrude but he sees you smiling brightly at him as he returns to the table. You’re still on the same page not having resumed your reading. 

  Steven sits and sips his tea, he hums in approval and he’s grateful it sat briefly because at the moment he’s plenty warm. 

  “Is that the chai?” You ask inquisitively as you flip back a few pages with a puzzled look on your face. 

  “Yes, it’s one of my favorites. In fact I don’t make it at home. It’s just—.”

  “It never tastes the same.”  You steal the words right from his mouth as he glances down to your coffee in question. “Sometimes I enjoy the occasional cup of coffee. It reminds me of home” You say with a sheepish expression. 

  “Where’s home?” He clears his throat. “If you don’t mind me asking, that is.” 

  “I don’t mind at all. Washington.” His eyes go wide and you smirk into your coffee. “I know I’m a long way from home.” You say it with a far away look in your eyes and he silently curses himself for being too forward. 

  You flip frantically back and forth through the pages as you scrunch your nose in frustration. 

  She’s cute 

  Ya he’s aware and he’s thoroughly wrecked at any future attempts to match this turn of events for a day off from the museum. 

  “Looking for anything in particular?” He leans in a little closer as he scrubs his sweaty palms on his pants. 

  “Yes…it’s just.” You cease your movements and lean back against the soft cushion. “I know these books leave out so much information. They claim to be special editions but I know there’s more to it than this.” You point at the page like it’s personally offended you. 

  “Perhaps I could be of some assistance?” You raise your eyebrow at him and it’s quiet for a moment. 

  “Aren’t you going to ask?” 

  “Ask what love?” It slips out but you don’t falter or grimace at his words. 

  “Ask me why I’m so far from home.” You look at each other then, it’s just a millisecond of a flash in your eyes. The iris is bright yellow and then gone. His heart quivers a bit and he thinks he may be having a mild heart attack. 

  Calmáte

  He takes a shuddering breath and shucks off his coat. “S’ not really my business I guess.” 

  You’re so focused on him. Like you’re learning every tick and line etched into his features. The way you stare at him like he’s a statue to be studied. It’s maddening and a little unnerving but he doesn’t want you to look away. 

  “Can you tell me why all of the statues of Min are depicted vastly different from all these photographs?” You slide the book toward him but he closes it as a smug smile adorns his face.

  “Well the European scholars of the Victorian age were a bit more…conservative.” He adjusted his pants unconsciously before continuing. “They had most of the phallic members on the statues removed when they were discovered. It nearly wiped out all known history of Min…but you can’t erase the mind.” You chuckle as he taps his finger against his temple playfully. 

  You sigh sympathetically and a comfortable silence falls over the both of you. “Poor Min.” 

  Steven lets out a raucous laughter and you can’t help the giggle that escapes you. The old woman from before seated at a table nearby shushes you both and Stevens face turns deep red. 

  You duck your head close to his. “It’s not like we’re in a library.” 

  Ya he’s a goner 

  “Another fun fact, that’s likely not in your book.” He drops his voice a little to not disturb anyone else. His excitement is threatening to boil over at your willingness to listen. “It’s rumored that Min was in charge of overseeing the women while the king and his men were at war. When the men returned from battle all of the women were pregnant.” You cover your mouth in shock. “It gets worse.” 

  Your leg brushes his as you adjust to face him better and he nearly chokes at the brief contact. “The king had his arm and leg chopped off in retaliation.” 

  “Why not his.” You gesture downward but his eyes stay fixed to your face. 

  “Well…funny you ask. The king told the men to remove his er…you know. The men thought it was too magnificent so they made him a god. That’s the rumor at least.” 

  MIN WAS A FOOL

  Steven stiffens at the bird's sudden presence as he’s perched in the corner. Unsure as to why he’s here. Marc made it clear to leave Steven alone when it comes to moon knight duties 

  You’re staring at him with a mesmerized look in your eyes. “How do you know so much?”

  He shrugs his shoulders. “I’ve always had a knack for researching and always found Egyptian mythology fascinating. I used to run the gift shop at the British Museum, but now I’m a tour guide.” 

  You shriek in surprise and the old woman abruptly stands with her newspaper, muttering under her breath as she exits the coffee shop. “I’m interviewing for a job there next month. How serendipitous.” You say the last part half whispered. 

  “Wow, that is quite the coincidence. What’s the job? If you don’t mind me asking.” 

  “The curator position has an opening. It’s always been my dream to work there.” Steven glances up nervously at Khonshu who still hasn’t left. 

  DON'T MESS THIS UP WORM

  “I could ugh…help you prepare. If you’d like? I’m sure you know your stuff but if I—.” 

  “I would love that so much. Thank you.” You say enthusiastically as you clap your hands together. 

  You reach into your purse to pull out your phone. “I’m here most mornings around this time.” You hand it to him sounding a little apprehensive. “But I should have your number just in case.” 

  “Of course love.” He punches in the digits trying to calm his shaking hands. He hands it back to you as you look it over. 

  “Nice to meet you Steven.” You slide it back into your purse along with your book. “I should be going.” You wave at him as you slide out and head towards the door with one last glance over your shoulder at him. 

  He exhales as he drops his head back, the cafes a little colder and his heart rate slows to a normal pattern. 

  ****

  Steven frantically stacks his books against the wall after he’s checked on the vegan pot pie in the oven. He’d managed with Marc’s help to attempt a new recipe without burning down the flat. 

  She’s been here before Steven just relax 

  “I just want it to look nice. She’s not just coming over to study.” Despite Marc’s insistence he calms down, he can sense his nervousness. 

  Jake feels it too. 

  You’ve been over countless times, laid out on the floor amongst the books that adorned their home. You and Steven rambling for hours about the ancient texts or the hidden tombs. Swapping ridiculous facts that the other hadn’t heard. Jake often had to remind you both to eat or drink something. 

  Marc would front occasionally…mostly to remind Steven that the body had other duties to attend to. There was always an awkward avoidance on the days after you’d see Marc. 

  But tonight feels different. You were coming over to spend time with them, not just pick Stevens brain for loads of useful knowledge. The way you touched him today and the look in your eyes told an entirely different story than your budding friendship. He doesn’t want to get ahead of himself before you arrive so he tries to keep his hands busy. 

  Jake has to give it to him, the flat has never been this clean in its entirety. He notices some newer candles have been lit but decides to keep it to himself. 

  Just remember she likes us and take deep breaths

  “Thanks mate, I sure hope I know what I’m doing.” 

  ****

  “Steven, you've outdone yourself.” You slide the empty plate forward and take a sip of your wine. 

  It never gets old, hearing your praises. You were always so grateful and appreciative of anything they would do for you. 

  “Marc helped as well.” His eyes meet Marc’s in the reflection of the mirror. 

  You brush your hand over his tracing the veins along his arm. “Well tell him I said thank you.”

  Marc wasn’t avoiding you per say. He just thought it was important for Steven and Jake to experience what he once had. Something he wanted so desperately but was too afraid to mess it up again. 

  The conversation moves comfortably to the couch, where your feet are curled up beneath you as you animatedly tell Steven about the wonderful interview. Some old sci fi movie on in the background that he can’t bother to pay attention to when he could simply watch you. 

  You finally take a breath and realize how close you are. Knees touching as you adjust against the worn leather. He looks at you as if he wants you to continue. You thought he’d be sick of talking about this stuff by now but he looks as though he’d let you go on for hours. You can’t ignore the feeling from earlier and you hope deep down that what you’re about to do doesn’t ruin the best friendship you’ve ever had. 

  If it does, you suppose it’ll make your work relationship less complicated. You aren’t even sure what the policy is on dating. You’re definitely getting ahead of yourself. 

  “Love is everything alright?” He asks as he places his warm hand gently on your thigh. 

  “Sorry, I was lost in thought.” You chuckle softly as you look at the fish tank. Gus swimming in the front staring at you. 

  “Did you want to tell me what’s on your mind?” His hand traces soothing circles on your thigh and he feels you shudder. He moves to withdraw but you grab his hand,lacing your fingers with his. 

  He slowly raises your arm, kissing the back of your hand as his lips linger there for a moment. ‘Go on’

  “I just…wanted to thank you properly. But we were in the museum.” Your voice is suddenly so timid. 

  “We’re not in the museum now.” His chest rises and falls with rapid breaths as he waits. 

  It feels like all eyes are on you, and not just Stevens. He’s waiting for you to cross that bridge, giving you the opportunity to say that this can stay exactly what it is and he would be content. 

  You inch closer to him as you rise up on your knees, the couch creaks as you face him, placing your free hand on his shoulder. He closes his eyes as you roam over his chest, mapping it with your fingers. His dark lashes flutter against his cheeks as you lean in and press your lips to his. 

  Warmth blooms across his chest at the first feel of your touch. It’s so gentle and experimental as you both share breaths. He releases your hand to wrap around your waist and pull you closer to his chest. 

  “You’re welcome.” He murmurs against your lips as you chuckle in between opened mouth kisses. 

  You can still taste the wine on his tongue as he methodically takes the lead. Much more assured of himself than you’ve ever seen. 

  You yelp in surprise as he swings your leg over his so you’re straddling his lap. You lean back with your hands braced on his chest as it rises and falls beneath you. His hands flex at his side as his eyes roll. 

  “Mírate, eres tan hermosa.” His pupils are black as he bites his bottom lip. 

  “Hi.” You say breathlessly as his hands find their way to your hips. He pulls you in as your noses touch, waiting for permission as you nod. 

  He’s consuming and precise in his movements. His lips crash into yours as you instinctively grind your hips down. He groans into your mouth as you wrap your arms around his neck. It’s so different from Steven and yet so exhilarating knowing it’s the same body. 

  I wasn’t quite finished yet

  Jake chuckles as he trails kisses along your jaw. “I wasn’t sure if he was going to share.”  He tilts your head to the side as he bites and nips at your chin. “To be continued.” 

  His hands flex again and he relaxes beneath you. A blush creeps up Stevens neck at the position you’re in. You adjust yourself and brush against his hardened bulge in his pants. A soft whimper leaves his mouth as you experimentally roll your hips again. He’s slack jawed as he watches you with hooded eyes. You’re beautiful just like this. 

  Your nerves start to get the better of you and he notices your trembling. He gently unwraps your arms from his neck as he places a kiss on each palm. 

  “We don’t have to go any further love.” He breathes in the scent of your perfume, heavy on your wrist. “I like this. What we’re doing now.” 

  You place your hand on his rapidly beating heart, quite the juxtaposition to his outwardly calm demeanor. You’re so content to stay like this…so you do until your eyes fall heavy. Lips chapped from kissing as the candles go out on their own. Curled up under the broadness of their body as they wrap you up into them. You push the thoughts away before sleep claims you of not having seen Marc, you want to thank him…in time. 

  ****

  The golden sun bathes you in a warm embrace as you rustle amongst the robust reeds. Your fingers trace along the silky fabric of your dress as the breeze brings scents of jasmine to awaken you softly. 

  The crunching of grass with each deliberate step, a gentle symphony beneath the weight of someone weaving through the emerald blades. As they move it casts a shadow along your tranquil resting spot. 

  You hear a faint laugh as you open your eyes. A tall majestic man stands before you, adorned in blue and gold. His dark locks sit beneath a nemes crown. He crouches down beside you as he lays his crescent staff amongst the grass and pulls you close. He rests his head atop yours as he hums quietly to himself.

  “I knew I’d find you here.” 

  ****

  You stretch your sore limbs, having fallen asleep in such an awkward position. Fragments of a dream linger in your mind briefly. Your eyes adjust to the light in the flat and you’re acutely aware of the lack of warmth against your back. 

  There’s a soft quilt draped over your form and you pull it close as you sit up on the brown leather couch. It’s silent in the flat, the only sound over the quiet hum of Gus’s tank is the sound of your beating heart as you brush the tears away with the blanket you’re holding tightly to your chest. 

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[visenyaism]

im devolving during my finals right now and i can’t think of any other way to say that hatshepsut and thutmose iii were rhaenyra and aegon-pilled. like the ptolemaic coding on the targs are sooooo clear but i think it’d be even more interesting to push them further back into archaic egyptian history. like the succession struggles between the two, the ideological divide between establishing herself as queen consort, queen regent, or queen regnant (but with all the masculine trappings of pharoanic power, which is kind of a fun parallel to show!rhaenyra’s whole ThingTM and conflict with gender performance and power). like i should be writing my final but i am instead turning this around in my head like an orb.

hold on i have to go look up a bunch of things

[egypt-ancient-and-modern]

I've been asked to weigh in.

So.

No, Cleopatra wasn't black. She wasn't even African. Her family was Macedonian Greek, and they were infamously the most incestuous family in Egyptian history. No African DNA got in there. People who saw her while she was alive described her as having, "honey skin." She wasn't Elizabeth Taylor white, but she also wasn't what we'd call black.

That being said, there are PLENTY of Black figures in Egypt. The further back you go in Egyptian history, the less amount of trade routes with other nations, the more African they were. That means that the pyramid builders like Khufu, Khafre, and Menkaure were all likely black. Hatshepsut, the first woman to rule in her own right who established highly successful trade routes with Punt, was likely black. Tutankhamun's grandmother Tiye has always been depicted with dark skin. Queen Ahmose Nefertari was depicted as this:

Then there's the entire Kushite Dynasty from Sudan who were black. This was a non-issue for Egypt. The biggest issue was if you worshipped their gods and respected their ways. If you did, then you were in. Alexander the Great was received like a hero because of this while the Persians were hated because of their disrespect for Egyptian culture.

3. Egypt even had what historians considered to be Asian rulers. The Hyksos invaders who ruled Egypt were from West Asia and some historians have posited that they were from the Indian subcontinent. (This has not been confirmed.)

Egypt was a melting pot with people from all over because of the lucrative trade routes. They were ruled by Greeks, Romans, Persians, Assyrians, Kushites, Hyksos, Libyans, etc. They had a blended culture.

So, it is interesting to me that this documentary chose a woman who was very clearly documented to NOT be black when Egypt has no shortage of Black figures to choose from. You'd think you'd want to tie yourself to the great legacies like Hatshepsut who made Egypt wealthy and stable over Cleopatra who lost Egypt its independence.

4. The one thing I CAN say for certain is that the actual Egyptians were NOT white. When I hear conspiracy theories that Ramses II was white from Scotland because he had red hair, it makes me so angry. They were not. Great things can and did come for non-white nations. Writing, language, government, medicine, etc ALL came from non-white nations. Egyptians referred to the Celts as Barbarians for a reason. Cleopatra, while she ruled Egypt, was NOT Egyptian. And that always gets forgotten. She hailed from a conquerer's line, not Egypt itself.

The thing about Egypt was they realistically depicted skin-color in Egyptian art. Maybe one day we'll find something of Cleopatra that will put this to rest. All we know is that her coinage shows her with distinctive European features, like a long, narrow, hooked nose. She has her hair in the Greek style.

[whiterosechrista]

Famous/Important Women?

I'm trying to make a list of notable women in history (mostly for fun, partially to use against misogynists who think men did everything), and kinda not wanting to just look up a list online.

So; I'd like anyone who sees this post to add to the list. Even if all you can remember is a name and basic details, that's enough (I myself am mostly operating off memory, and then looking up details to fill in the blanks). If possible though, a date of birth/death and what they're most known for would be great, since those are the details I'm focusing on right now.

I'll add all new people/details to a list here on Tumblr so we're all on the same page info-wise.

Edit; pinning this post both so I don't have to scroll millions of miles and so it's easier for people to find (I should probably be pinning my intro post instead but whatever).

List so far:

Enheduanna (𒂗𒃶𒌌𒀭𒈾), Birthdate unknown (c. 23rd century BCE), death date unknown (c. 23rd century BCE). High Priestess of Nanna/Sin (Sumerian Moon God), Daughter of Sargon (Founder of the Akkadian Empire), Earliest Known Named Author in History.

Nitocris (Greek: Νίτωκρις). Birthdate Unknown (c. 22nd century BCE), death date unknown (c. 22nd century BCE). Possible Queen of Egypt; If So, Would Have Been the Last Queen of the Sixth Dynasty of the Old Kingdom (c.2686 – 2181 BC).

Sobekneferu (Neferusobek). Birthdate unknown (mid 18th century BC), death date unknown (mid 18th century BC). Queen of Egypt, the Last Ruler of the Twelfth Dynasty of the Middle Kingdom, Reign Lasted 3 Years, 10 Months, and 24 days, Ending in c. 1802 BC.

Hatshepsut. Born ~1507 BC, died 1458 BC. Queen of Egypt (c. 1479 – 1458 BC), Fifth Pharaoh of the 18th Dynasty of Egypt, Prolific Builder, Reigned in Peace and Prosperity.

Sappho (Modern Greek: Σαπφώ (Sapphṓ), Aeolic Greek: Ψάπφω (Psápphō)). Born c. 630 BC, died c. 570 BC. Ancient Greek Poetess, Famous for Love Poems, Symbol of Lesbian Love, Known as “The Tenth Muse”.

Timarete (Thamyris, Tamaris, Thamar (Greek: Τιμαρέτη)). Birthdate unknown (c. 5th century BC), death date unknown (c. 5th century BC). Ancient Greek Painter; According to Pliny the Elder, She "Scorned the Duties of Women and Practiced Her Father's Art." At the Time of Archelaus I of Macedon She Was Best Known for a Panel Painting of the Goddess Diana That Was Kept at the City of Ephesus.

Helena of Egypt. Birthdate unknown (4th century BC), death date unknown (c. 4th century BC). Painter, Learned From Her Father, Worked in the Period After the Death of Alexander the Great in 323 BC, Painted a Scene of Alexander Defeating the Persian Ruler, Darius III, at the Battle of Issus.

Kalypso. Birthdate unknown (c. 3rd century BC), death date unknown. Supposed Ancient Greek Painter (existence disputed).

Aristaineta. Birthdate unknown (3rd century BCE), death date unknown (3rd century BCE). Aetolian Woman, Dedicated a Large Monument at the Sanctuary of Apollo at Delphi Which Included Her Mother, Father, Son, and Herself, Which Was a Symbol of Social Status Usually Reserved For the Male Head of the Family.

The Vestal Three (Aemilia, Licinia and Marcia). Born in the 2nd century BC, died December, 114 BC (Aemilia), and 113 BC (Licinia and Marcia). Roman Vestal Virgins (Priestesses), Prosecuted For Having Broken the Vow of Chastity in Two Famous Trials Between 115 and 113 BC.

Iaia of Cyzicus (Ιαία της Κυζίκου). Born c. 2nd century BC, died c. 1st century BC. Famous Greek Painter and Ivory Carver, Most of Her Paintings are Said to Have Been of Women. According to Pliny the Elder; "No One Had a Quicker Hand Than She in Painting." Remained Unmarried All Her Life.

Cleopatra (Cleopatra VII Thea Philopator). Born ~69 BC, died August 10, 30 BC. Queen of Egypt (51 – 30 BC), Last Active Ruler of the Ptolemaic Kingdom of Egypt, Only Known Ptolemaic Ruler to Learn the Egyptian Language.

Soseono (소서노) (Yeon Soseono (연소서노)). Born 66/7 BCE, died 6 BCE. Queen Consort of Goguryeo, One of the Three Kingdoms of Korea (37 – 18 BC), Queen dowager of Baekje (Another of the Three Kingdoms) (18 – 6 BC), Founder of Baekje (18 BC).

Heo Hwang-ok (허황옥) (Empress Boju (보주태후)). Born 32 AD, died 189 AD. Legendary Queen of  Geumgwan Gaya, Mentioned in Samguk yusa (a 13th-Century Korean Chronicle), Believed to Originally be From India.

Septimia Zenobia (𐡡𐡶𐡦𐡡𐡩, Bat-Zabbai). Born ~240, died ~274. Queen of Palmyra (267 – 272), Queen of Egypt (270 – 272), Empress of Palmyra (272).

Hypatia. Born c. 350–370 AD, died March, 415 AD. Neoplatonist Philosopher, Astronomer, and Mathematician, Prominent Thinker in Alexandria, Taught Philosophy and Astronomy, Beloved by Pagans and Christians Alike.

Seondeok of Silla (선덕여왕) (Kim Deokman (덕만)). Born c. 580 or 610, died 20 February, 647. Queen of Silla, One of the Three Kingdoms of Korea (632 – 647), Silla's Twenty-Seventh Ruler and First Reigning Queen, Known as a Wise and Kind Monarch.

Jindeok of Silla (진덕여왕) (Kim Seungman (김승만)). Birthdate unknown, died 654. Queen of Silla, One of the Three Kingdoms of Korea (647 – 654), Silla’s Twenty-Eighth Ruler and Second Reigning Queen, Greatly Improved Relations With China.

Jinseong of Silla (진성여왕) (Kim Man (김만)). Born c. 865, died 897. Queen of Silla, One of the Three Kingdoms of Korea (887-897), Silla’s Fifty-First Ruler, Third and Last Reigning Queen, Said to be Smart by Nature, But Whose Reign Saw the Weakening of Unified Silla.

Ende (En). Born c. 10th Century AD, died c. 10th Century AD. First Spanish Female Manuscript Illuminator to Have Her Work Documented Through Inscription.

Diemoth (Latinized: Diemudus, Diemut, Diemud, Diemuth, Diemod or Diemudis). Born c. 1060, died c. 30 March, 1130. Recluse at Wessobrunn Abbey in Upper Bavaria, Germany, Worked on 45 Manuscripts From 1075 to 1130.

Lǐ Qīngzhào (李清照) (a.k.a. Yian Jushi (易安居士)). Born 1084, died c.1155. Chinese Poet and Essayist, Defiant Visionary, Known as “The Most Talented Woman In History.”

Gunnborga (a.k.a Gunnborga den Goda (literary: 'Gunnborga the Good')). Born c. 11th century, died c. 11th century. Viking Age Swedish Runemaster, Responsible for the Hälsingland Rune Inscription 21, Known as the Only Confirmed Female Runemaster.

Hildegard of Bingen (German: Hildegard von Bingen, Latin: Hildegardis Bingensis, a.k.a Saint Hildegard/the “Sibyl of the Rhine”). Born c. 1098, died 17 September, 1179. German Benedictine Abbess and Polymath, Active as a Writer, Composer, Philosopher, Mystic, Visionary, and Medical Writer/Practitioner During the High Middle Ages.

Matilda of England (Empress Matilda, Empress Maude, the “Lady of the English”). Born c. 7 February, 1102, died 10 September, 1167. Holy Roman Empress (1114 – 1125), Disputed Queen of England (1141 – 1148).

Guda. Born 12th Century AD, died 12th Century AD. German Nun and Illuminator, One of the First Women to Create a Self-Portrait in a Manuscript.

Herrad of Landsberg (Latin: Herrada Landsbergensis). Born c. 1130, died July 25, 1195. Alsatian Nun and Abbess of Hohenburg Abbey in the Vosges Mountains, Known as the Author of the Pictorial Encyclopedia Hortus Deliciarum (The Garden of Delights) (completed in 1185).

Claricia (Clarica). Born c. 12th Century AD, died c. 13th Century AD. German Laywoman and Illuminator, Noted for Including a Self-Portrait in a South German Psalter of c. 1200.

Jefimija (Јефимија) (Jelena Mrnjavčević (Serbian Cyrillic: Јелена Мрњавчевић)). Born 1349, died 1405. Considered the First Female Serbian Poet. Her Lament for a Dead Son and Encomium of Prince Lazar are Famous in the Canon of Medieval Serbian Literature. Also a Skilled Needlewoman and Engraver.

Christine de Pizan (Cristina da Pizzano). Born September, 1364, died c. 1430. Italian-Born French Poet and Court Writer for King Charles VI of France and Several French Dukes. Considered to be One of the Earliest Feminist Writers; Her Work Includes Novels, Poetry, and Biography, and also Literary, Historical, Philosophical, Political, and Religious Reviews and Analyses.

Joan of Arc (Jeanne d’Arc, Jehanne Darc). Born ~1412, died 30 May, 1431. French Knight, Martyr, and Saint, Burned at the Stake.

Catherine of Bologna (Caterina de' Vigri). Born 8 September, 1413, died 9 March, 1463. Italian Poor Clare, Writer, Teacher, Mystic, Artist, and Saint; The Patron Saint of Artists and Against Temptations.

Elena de Laudo. Born c. 15th Century AD, died c. 15th Century AD. Venetian Glass Artist, Belonged to a Glass Painter Family of Murano, is Noted to Have Painted Blanks Delivered to Her From the Workshop of Salvatore Barovier in 1443–1445.

Maria Ormani (Maria di Ormanno degli Albizzi). Born 1428, died c. 1470. Italian Augustinian Hermit Nun-Scribe and Manuscript Illustrator, Most Notable Work is an Apparent Self-Portrait in a Breviary That She Signed and Dated 1453; the Earliest Dated Self-Portrait by a Woman Artist in Italian Renaissance Art.

Sister Barbara Ragnoni (Suor Barbara Ragnoni). Born 1448, died 1533. Italian Nun and Artist for Whom Only One Work Remains Extant; Her Signed Painting, The Adoration of the Shepherds (c. 1500).

Antonia Uccello. Born 1456, died 1491. Carmelite Nun, Noted as a "Pittoressa" (Painter) on Her Death Certificate; Her Style and Skill Remain a Mystery as None of Her Work is Extant.

Marietta Barovier. Born 15th Century AD, died c. 15th/16th Century AD. Venetian Glass Artist, the Artist Behind a Particular Glass Design from Venetian Murano; the Glass Bead Called Rosette or Chevron Bead, in 1480. In 1487 She Was Noted to Have Been Given the Privilege to Construct a Special Kiln (Sua Fornace Parrula) for Making "Her Beautiful, Unusual and Not Blown Works".

Catherine of Aragon (Katherine, Catharina, Catalina). Born 16 December, 1485, died 7 January, 1536. First Wife of King Henry VIII, Queen Consort of England (1509 – 1533).

Properzia de' Rossi. Born c. 1490, died 1530. Ground-Breaking Female Italian Renaissance Sculptor, One of Only Four Women to Receive a Biography in Giorgio Vasari's Lives of the Artists.

Anne Boleyn. Born c. 1501 or 1507, died 19 May, 1536. Second Wife of King Henry VIII, Queen Consort of England (1533 – 1536), Martyr, Executed on False Charges.

Jane Seymour. Born c. 1508, died 24 October, 1537. Third Wife of King Henry VIII, Queen Consort of England (1536 – 1537), Died of Postnatal Complications.

Levina Teerlinc. Born in the 1510s, died 23 June, 1576. Flemish Renaissance Miniaturist who Served as a Painter to the English Court of Henry VIII, Edward VI, Mary I and Elizabeth I.

Catherine Parr (Kateryn Parr). Born c. August, 1512, died 5 September, 1548. Sixth Wife of King Henry VIII, Queen Consort of England and Ireland (1543 – 1547), First English Woman to Publish an Original Work Under Her Own Name, Widowed, Remarried, Died in Childbirth.

Anne of Cleves (Anna von Kleve). Born 28 June or 22 September, 1515, died 16 July, 1557. Fourth Wife of King Henry VIII, Queen Consort of England (6 January 1540 – 12 July 1540), Marriage Annulled, Outlived All Other Wives.

Mary I of England (Mary Tudor). Born 18 February, 1516, died 17 November, 1558. First Undisputed Regnant Queen of England and Ireland (1553 – 1558), Daughter of Henry VIII and Catherine of Aragon.

Mayken Verhulst (a.k.a. Marie Bessemers). Born 1518, died 1596 or 1599. 16th-Century Flemish Miniature, Tempera and Watercolor Painter and Print Publisher, Actively Engaged in the Workshop of Her Husband, Posthumously Publishing His Works. While Recognized as an Exceptionally Skilled Artist, Little is Known About Her Works or Life as There are Few Surviving Sources.

Catherine Howard (Katheryn Howard). Born c. 1523, died 13 February, 1542. Fifth Wife of King Henry VIII, Queen Consort of England (1540 – 1541), Stripped of Title, Beheaded for ‘Treason’.

Sister Plautilla Nelli (Pulisena Margherita Nelli). Born 1524, died 1588. Self-Taught Nun-Artist, the First Ever Known Female Renaissance Painter of Florence, and the Only Renaissance Woman Known to Have Painted the Last Supper.

Caterina van Hemessen (Catharina van Hemessen). Born 1528, died after 1565. Flemish Renaissance Painter, the Earliest Female Flemish Painter for Whom There is Verifiable Extant Work, Possibly Created the First Self-Portrait of an Artist (of Either Gender) Depicted Seated at an Easel (1548).

Sofonisba Anguissola (a.k.a Sophonisba Angussola or Sophonisba Anguisciola). Born c. 1532, died 16 November, 1625. Italian Renaissance Painter, Born to a Relatively Poor Noble Family, Got a Well-Rounded Education That Included the Fine Arts; Her Apprenticeship With Local Painters Set a Precedent for Women to be Accepted as Students of Art.

Elizabeth I of England (Elizabeth Tudor, the “Virgin Queen”). Born 7 September, 1533, died 24 March, 1603. Regnant Queen of England and Ireland (1558 – 1603), Last Monarch of the House of Tudor, Daughter of Henry VIII and Anne Boleyn.

Lucia Anguissola. Born 1536 or 1538, died c. 1565 – 1568. Italian Mannerist Painter of the Late Renaissance, Younger Sister of Sofonisba, Who She Likely Trained With.

Lady Jane Grey (Lady Jane Dudley (married name)). Born  ~1537, died 12 February, 1554. Queen of England for ~9 days (~10 July, 1553 – 19 July, 1553) (disputed), First Cousin Once Removed of Mary I and Elizabeth I.

Mary, Queen of Scots (Mary Stuart). Born 8 December, 1542, died 8 February, 1587. Queen of Scotland (1542 – 1567), Forced Abdication, Imprisonment, Execution.

Diana Scultori (a.k.a Diana Mantuana & Diana Ghisi). Born 1547, died 5 April, 1612. Italian Engraver From Mantua, Italy; One of the Earliest Known Women Printmakers, Making Mostly Reproductive Engravings of Well-Known Paintings/Drawings and Ancient Roman Sculptures.

Lavinia Fontana. Born 24 August, 1552, died 11 August, 1614. Italian Mannerist Painter, Active in Bologna and Rome, Best Known for Her Successful Portraiture, but Also Worked in the Genres of Mythology and Religious Painting, Regarded as the First Female Career Artist in Western Europe.

Barbara Longhi. Born 21 September, 1552, died 23 December, 1638. Italian Painter, Much Admired in Her Lifetime as a Portraitist, Though Most of Her Portraits are Now Lost or Unattributed.

Marietta Robusti. Born 1560, died 1590. Highly Skilled Venetian Painter of the Renaissance Period, the Daughter of Tintoretto (Jacobo Robusti), Sometimes Referred to as Tintoretta.

Elizabeth Báthory (Báthori Erzsébet). Born 7 August, 1560, died 21 August, 1614. Hungarian Countess, Subject of Folklore, Alleged Serial Killer.

Esther Inglis. Born 1571, died 1624. Skilled Artisan and Miniaturist Who Possessed Several Skills in Areas Such as Calligraphy, Writing, and Embroidering; Over the Course of Her Life, She Composed Around Sixty Miniature Books That Display Her Calligraphic Skill With Paintings, Portraits, and Embroidered Covers.

Galizia (Fede Galizia). Born c. 1578, died c. 1630. Italian Painter of Still-Lifes, Portraits, and Religious Pictures, Especially Noted as a Painter of Still-Lifes of Fruit, a Genre in Which She Was One of the Earliest Practitioners in European Art.

Izumo no Okuni (出雲 阿国). Born c. 1578, died c. 1613. Actress, Shrine Maiden, Creator of Kabuki Theater (1603 – 1610), Recruited Lower-Class Women For Her Troupe, Primarily Prostitutes.

Clara Peeters. Born c. 1580s/90s, death date unknown. Flemish Still-Life Painter From Antwerp Who Worked in Both the Spanish Netherlands and Dutch Republic. Was the Best-Known Female Flemish Artist of This Era and One of the Few Women Artists Working Professionally in 17th-Century Europe, Despite Restrictions on Women's Access to Artistic Training and Membership in Guilds.

Artemisia Gentileschi (Artemisia Lomi). Born 8 July, 1593, died c. 1656. Italian Baroque Painter, Considered Among the Most Accomplished 17th-Century Artists, Making Professional Work by Age 15. In an Era When Women Had Few Chances to Pursue Artistic Training/Work as Professional Artists, She Was the First Woman to Become a Member of the Accademia di Arte del Disegno and Had an International Clientele. Much of Her Work Features Women From Myths, Allegories, and the Bible, Including Victims, Suicides, and Warriors.

Magdalena van de Passe. Born 1600, died 1638. Dutch Engraver, Member of the Van de Passe Family of Artists From Cologne, Active in the Northern Netherlands. Specialized in Landscapes and Portraits, and Trained the Polymath Anna Maria van Schurman in Engraving, One of the Few Known Early Examples of the Training of One Woman Artist by Another.

Giovanna Garzoni. Born 1600, died 1670. Italian Painter of the Baroque Period; Began Her Career Painting Religious, Mythological, and Allegorical Subjects but Gained Fame For Her Botanical Subjects Painted in Tempera and Watercolor.

Michaelina Wautier (Michaelina Woutiers). Born 1604, died 1689. Baroque Painter From the Southern Netherlands (now Belgium), Noted For the Variety of Subjects and Genres She Worked in, Unusual For Female Artists of the Time, Who Were More Often Restricted to Smaller Paintings, Generally Portraits or Still-Lifes.

Judith Leyster (Judith Jans Leyster (also Leijster)). Born in July, 1609, died February 10, 1660. Dutch Golden Age Painter of Genre Works, Portraits, and Still-Lifes. Her Work Was Highly Regarded by Her Contemporaries, but Largely Forgotten After Her Death. Her Entire Oeuvre Came to be Attributed to Frans Hals or to Her Husband, Jan Miense Molenaer. In 1893, She Was Rediscovered and Scholars Began to Attribute Her Works Correctly.

Louise Moillon. Born 1610, died 1696. French Still-Life Painter in the Baroque Era, Became Known as One of the Best Still-Life Painters of Her Time, Her Work Purchased by King Charles I of England, as Well as French Nobility.

Catharina Peeters. Born 1615, died 1676. Flemish Baroque Painter, Noted For Painting Seascapes.

Katharina Pepijn (Catharina Pepijn). Born in February, 1619, died 12 November, 1688. Flemish Painter Who Was Known For Her History Paintings and Portraits.

Josefa de Óbidos (Josefa de Ayala Figueira). Born c.  January, 1630, died 22 July, 1684. Spanish-Born Portuguese Painter. All of Her Work Was Executed in Portugal, Her Father's Native Country, Where She Lived From the Age of Four. Approximately 150 Works of Art Have Been Attributed to Her, Making Her One of the Most Prolific Baroque Artists in Portugal.

Maria van Oosterwijck (Maria van Oosterwyck). Born 20/27 August, 1630, died 1693. Dutch Golden Age Painter, Specializing in Richly-Detailed Flower Paintings and Other Still-Lifes. Despite the Fact That Her Paintings Were Highly Sought Out by Collectors (Including Royalty), She Was Denied Membership in the Painters' Guild Because Women Weren’t Allowed to Join. Stayed Single Throughout Her Life, but Raised Her Orphaned Nephew.

Johanna Vergouwen (Jeanne Vergouwen, Joanna Vergouwen). Born 1630, died 11 March, 1714. Flemish Baroque Painter, Copyist, and Art Dealer.

Mary Beale (née Cradock). Born in late March, 1633, died 8 October, 1699. English Portrait Painter and Writer, Part of a Small Band of Female Professional Artists Working in London. Her Manuscript Observations (1663), on the Materials and Techniques Employed "in Her Painting of Apricots", Though Not Printed, is the Earliest Known Instructional Text in English Written by a Female Painter.

Elisabetta Sirani. Born 8 January, 1638, died 28 August, 1665. Italian Baroque Painter and Printmaker Who Died in Unexplained Circumstances at the Age of 27. She Was One of the First Women Artists in Early Modern Bologna, and Established an Academy for Other Women Artists.

Maria Theresia van Thielen. Born 7 March, 1640, died 11 February, 1706. Flemish Baroque Painter, Known for Several Flower Pieces and Outdoor Still-Lifes Painted in the Style of Her Father, Jan Philip van Thielen.

Anna Maria van Thielen. Born 1641, death date unknown. Flemish Baroque Painter and Nun, Younger Sister of Maria Theresia, Older Sister of Fransisca Catharina.

Maria Borghese (Maria Virginia Teresa Borghese). Born 1642, died 1718. Italian Baroque Artist, Daughter of Art Collector Olimpia Aldobrandini.

Francisca Catharina van Thielen. Born 1645, death date unknown. Flemish Baroque Painter and Nun, Younger Sister of Maria Theresia and Anna Maria.

Maria Sibylla Merian. Born 2 April, 1647, died 13 January, 1717. German Entomologist, Naturalist and Scientific Illustrator, One of the Earliest European Naturalists to Document Observations About Insects Directly.

Élisabeth Sophie Chéron. Born 3 October, 1648, died 3 September, 1711. Remembered Today Primarily as a French Painter, but She Was a Renaissance Woman, Acclaimed in Her Lifetime as a Gifted Poet, Musician, Artist, and Academician.

Luisa Roldán (Luisa Ignacia Roldán, a.k.a La Roldana). Born 8 September, 1652, died 10 January, 1706. Spanish Sculptor of the Baroque Era, the Earliest Woman Sculptor Documented in Spain. Recognized in the Hispanic Society Museum For Being "One of the Few Women Artists to Have Maintained a Studio Outside the Convents in Golden Age Spain".

Rachel Ruysch. Born 3 June, 1664, died 12 October, 1750. Dutch Still-Life Painter From the Northern Netherlands. She Specialized in Flowers, Inventing Her Own Style and Achieving International Fame in Her Lifetime. Due to a Long, Successful Career That Spanned Over Six Decades, She Became the Best-Documented Woman Painter of the Dutch Golden Age.

Anne, Queen of Great Britain. Born 6 February, 1665, died 1 August, 1714. Queen of England, Scotland, and Ireland (1702 – 1707), First Queen of Great Britain and Ireland (1707 – 1714).

Isabel de Cisneros (Isabel de Santiago). Born 1666, died c. 1714. Criollo Colonial Painter Born in the Colony of Quito (Ecuador), Specialized in Oil Paintings of the Childhood of the Virgin and of the Baby Jesus, Adorned With Flowers and Animals.

Rosalba Carriera. Born 12 January, 1673, died 15 April, 1757. Venetian Rococo Painter; In Her Younger Years She Specialized in Portrait Miniatures, Would Later Become Known For Her Pastel Portraits, Helping Popularize the Medium in 18th-Century Europe. She is Remembered as One of the Most Successful Women Artists of Any Era.

Giulia Lama (Giulia Elisabetta Lama). Born 1 October, 1681, died 7/8 October, 1747. Italian Painter, Active in Venice. Her Dark, Tense Style Contrasted With the Dominant Pastel Colors of the Late Baroque Era. She Was One of the First Female Artists to Study the Male Figure Nude.

Anna Dorothea Therbusch (born Anna Dorothea Lisiewski (Polish: Anna Dorota Lisiewska)). Born 23 July, 1721, died 9 November, 1782. Prominent Rococo Painter Born in the Kingdom of Prussia (Modern-Day Poland). About 200 of Her Works Survive, and She Painted at Least Eighty-Five Verified Portraits.

Catherine the Great (Catherine II, Екатерина Алексеевна (Yekaterina Alekseyevna), born Princess Sophie Augusta Frederica von Anhalt-Zerbst). Born 2 May, 1729, died 17 November, 1796. Reigning Empress of Russia (1762 – 1796), Came to Power After Overthrowing Her Husband, Peter III. Under Her Long Reign, Russia Experienced a Renaissance of Culture and Sciences.

Ulrika Pasch (Ulrika "Ulla" Fredrica Pasch). Born 10 July, 1735, died 2 April, 1796. Swedish Rococo Painter and Miniaturist, and a Member of the Royal Swedish Academy of Arts.

Angelica Kauffman (Maria Anna Angelika Kauffmann). Born 30 October, 1741, died 5 November, 1807. Swiss Neoclassical Painter Who Had a Successful Career in London and Rome. Remembered Primarily as a History Painter, She Was a Skilled Portraitist, Landscape and Decoration Painter. She Was, Along With Mary Moser, One of Two Female Painters Among the Founding Members of the Royal Academy in London in 1768.

Mary Moser. Born 27 October, 1744, died 2 May, 1819. English Painter and One of the Most Celebrated Female Artists of 18th-Century Britain. One of Only Two Female Founding Members of the Royal Academy in 1768 (Along With Angelica Kauffman), She Painted Portraits But is Particularly Noted For Her Depictions of Flowers.

Anne Vallayer-Coster. Born 21 December, 1744, died 28 February, 1818. Major 18th-Century French Painter, Best Known For Still-Lifes. She Achieved Fame and Recognition Very Early in Her Career, Being Admitted to the Académie Royale de Peinture et de Sculpture in 1770, at the Age of Twenty-Six. Her Life Was Determinedly Private, Dignified and Hard-Working.

Adélaïde Labille-Guiard (née Labille/a.k.a Adélaïde Labille-Guiard des Vertus). Born 11 April, 1749, died 24 April, 1803. French Miniaturist and Portrait Painter, Was an Advocate for Women to Receive the Same Opportunities as Men to Become Great Painters. She Was One of the First Women to Become a Member of the Royal Academy, and Was the First Female Artist to Receive Permission to Set Up a Studio for Her Students at the Louvre.

Marianne Mozart (Maria Anna Walburga Ignatia Mozart). Born 30 July, 1751, died 29 October, 1829. Musician (c. 1759 – 1769), Music Teacher (1772 – 1829), Sister of Wolfgang Amadeus Mozart.

Élisabeth Vigée Le Brun (Élisabeth Louise Vigée Le Brun, born Élisabeth Louise Vigée, a.k.a. Louise Élisabeth Vigée Le Brun, Madame Le Brun). Born 16 April, 1755, died 30 March, 1842. French Painter Who Mostly Specialized in Portrait Painting, in the Late 18th/Early 19th Centuries, Made a Name For Herself in Ancien Régime Society by Serving as the Portrait Painter to Marie Antoinette, Enjoyed the Patronage of European Aristocrats, Actors, and Writers, and Was Elected to Art Academies in Ten Cities.

Marie Antoinette (Maria Antonia). Born 2 November, 1755, died 16 October, 1793. Last Queen of France (1774 – 1792), Bad Reputation, Executed by Guillotine.

Maria Cosway (Maria Luisa Caterina Cecilia Cosway (née Hadfield)). Born 11 June, 1760, died 5 January, 1838. Italian-English Painter, Musician, and Educator, Worked in England, France, and Later Italy, Cultivating a Large Circle of Friends and Clients. Founded a Girls' School in Paris (Dir. 1803 – 1809). Soon After it Closed, She Founded a Girls' College and School in Lodi, Northern Italy, Which She Directed Until Her Death.

Marguerite Gérard. Born 28 January, 1761, died 18 May, 1837. French Painter and Printmaker Working in the Rococo Style; More Than 300 Genre Paintings, 80 Portraits, and Several Miniatures Have Been Documented to Her.

Marie-Gabrielle Capet. Born 6 September, 1761, died 1 November, 1818. French Neoclassical Painter, Pupil of the French Painter Adélaïde Labille-Guiard in Paris. Excelled as a Portrait Painter; Her Works Include Oil Paintings, Watercolors, and Miniatures.

Anna Rajecka (a.k.a Madame Gault de Saint-Germain). Born c. 1762, died 1832. Polish Portrait Painter and Pastellist, Raised as a Protégée of King Stanisław August Poniatowski of Poland; In 1783, She Was Enrolled at His Expense at the Art School for Women at the Louvre in Paris. Chose to Stay in Paris After Marrying Miniaturist Pierre-Marie Gault de Saint-Germain in 1788. Became the First Polish Woman to Have Her Work Represented at the Salon in 1791.

Marie-Guillemine Benoist (born Marie-Guillemine Laville-Leroux), Born December 18, 1768, died October 8, 1826. French Neoclassical, Historical, and Genre Painter, Student of Élisabeth Vigée Le Brun.

Adèle Romany (born Jeanne Marie Mercier, a.k.a. Adèle Romanée, Adèle de Romance). Born 7 December, 1769, died 6 June, 1846. French Painter Known for Miniatures and Portraits, Especially Those of People Involved in Performing Arts.

Marie-Denise Villers (Marie-Denise "Nisa" Lemoine). Born 1774, died 19 August, 1821. French Painter Who Specialized in Portraits. In 1794, She Married an Architecture Student, Michel-Jean-Maximilien Villers. Her Husband Supported Her Art, During a Time When Many Women Were Forced to Give Up Professional Art Work After Marriage.

Constance Mayer (Marie-Françoise Constance Mayer La Martinière). Born 9 March, 1775, died 26 May, 1821. French Painter of Portraits, Allegorical Subjects, Miniatures and Genre Works. She Had "a Brilliant But Bitter Career."

Jane Austen. Born 16 December, 1775, died 18 July, 1817. English Novelist, Author of Sense and Sensibility (1811), Pride and Prejudice (1813), etc, Known For Her Subtle Criticism of the Nobility of the Time.

Marie Ellenrieder. Born 20 March, 1791, died 5 June, 1863. German Painter Known For Her Portraits and Religious Paintings, Considered to be the Most Important German Woman Artist of Her Time.

Louise-Adéone Drölling (Madame Joubert). Born 29 May, 1797, died 20 March, 1834. French Painter and Draftswoman. Both Her Father and Older Brother Were Celebrated Artists in Their Day; She Herself Was Not a Very Prolific Painter.

Mary Shelley (Mary Wollstonecraft Shelley, née Godwin). Born 30 August, 1797, died 1 February 1851. English Novelist, Author of Frankenstein (1818), Which is Considered One of the Earliest Examples of Science Fiction.

Elizabeth Barrett Browning. Born 6 March, 1806, died 29 June, 1861. Influential Poet, Author of How Do I Love Thee (Sonnet 43, 1845) and Aurora Leigh (1856).

Ada Lovelace (Augusta Ada King, née Byron, Countess of Lovelace). Born 10 December, 1815, died 27 November, 1852. Mathematician, Writer, First to Think of Other Uses for Computing Besides Mathematical Calculations.

Victoria I (Alexandrina Victoria). Born 24 May, 1819, died 22 January, 1901. Queen of England (1837 – 1901), Longest Reign of All Predecessors.

Florence Nightingale. Born May 12, 1820, died August 13, 1910. English Nurse, Pioneer of Modern Nursing, Statistics, and Social Reformation (~1853 – ?).

Rosa Bonheur. Born 16 March, 1822, died 25 May, 1899. French Artist Known Best as a Painter of Animals (Animalière). She Also Made Sculptures in a Realist Style. Was Widely Considered to be the Most Famous Female Painter of the Nineteenth Century. It’s Been Claimed That She Was Openly Lesbian, as She Lived With Her Partner Nathalie Micas For Over 40 Years Until Micas's Death.

Barbara Bodichon. Born 8 April, 1827, died 11 June, 1891. English Educationalist, Artist, and a Leading Mid-19th-Century Feminist and Women's Rights Activist. She Published Her Influential Brief Summary of the Laws of England concerning Women in 1854 and the English Woman's Journal in 1858, and Co-Founded Girton College, Cambridge (1869).

Emily Dickinson (Emily Elizabeth Dickinson). Born December 10, 1830, died May 15, 1886. American Poet, Little-Known During Her Lifetime, Most Works Published Posthumously and Heavily Edited, Later Regarded as One of the Most Important Figures In American Poetry.

Louisa May Alcott. Born November 29, 1832, died March 6, 1888. American Novelist, Short Story Writer, Poet, Author of Little Women (1868), Abolitionist, Feminist, Active in Temperance and Women’s Suffrage Movements.

Elizabeth Jane Gardner (Elizabeth Jane Gardner Bouguereau (married name)). Born October 4, 1837, died January 28, 1922. American Academic and Salon Painter, Born in Exeter, New Hampshire. She Was the First American Woman to Exhibit and Win a Gold Medal at the Paris Salon. Her Works Were Accepted to the Salon More Than Any Other Woman Painter in History, and More Than All But a Few of the Men.

Marie Bracquemond (Marie Anne Caroline Quivoron). Born 1 December, 1840, died 17 January, 1916. French Impressionist Artist, One of Four Notable Women in the Impressionist Movement, Along With Mary Cassatt, Berthe Morisot, and Eva Gonzalès. Studied Drawing as a Child and Began Showing Her Work at the Paris Salon When She Was Still an Adolescent. Never Underwent Formal Art Training, But Received Limited Instruction From Jean-Auguste-Dominique Ingres and Advice From Paul Gauguin, Which Contributed to Her Stylistic Approach.

Berthe Morisot (Berthe Marie Pauline Morisot). Born January 14, 1841, died March 2, 1895. French Painter and a Member of the Circle of Painters in Paris Who Became Known as the Impressionists. Described by Art Critic Gustave Geffroy in 1894 as One of "Les Trois Grandes Dames" (The Three Great Ladies) of Impressionism Alongside Marie Bracquemond and Mary Cassatt.

Emma Sandys (born Mary Ann Emma Sands). Born 25 September, 1841, died 21 November, 1877. British Pre-Raphaelite Painter. Her Works Were Mainly Portraits in Both Oil and Chalk of Children and of Young Women, Often in Period Clothing, Against Backgrounds of Brightly Coloured Flowers.

Maria Zambaco (Marie Terpsithea Cassavetti (Greek: Μαρία Τερψιθέα Κασσαβέτη)). Born 29 April, 1843, died 14 July, 1914. British Sculptor of Greek Descent, Was Also an Artist's Model, Favored by the Pre-Raphaelites.

Kitty Kielland (Kitty Lange Kielland). Born 8 October, 1843, died 1 October, 1914. Norwegian Landscape Painter.

Marie Stillman (Marie Spartali (Greek: Μαρία Σπαρτάλη)). Born 10 March, 1844, died 6 March, 1927. British Member of the Second Generation of the Pre-Raphaelite Brotherhood. Of the Pre-Raphaelites, She Had One of the Longest-Running Careers, Spanning Sixty Years and Producing Over One Hundred and Fifty Works. Though Her Work With the Brotherhood Began as a Favorite Model, She Soon Trained and Became a Respected Painter.

Mary Cassatt (Mary Stevenson Cassatt). Born May 22, 1844, died June 14, 1926. American Painter and Printmaker, Born in Pennsylvania and Lived Much of her Adult Life in France, Where She Befriended Edgar Degas and Exhibited With the Impressionists. Often Created Images of the Social and Private Lives of Women, With Particular Emphasis on the Intimate Bonds Between Mothers and Children. Described by Gustave Geffroy as One of "Les Trois Grandes Dames" (The Three Great Ladies) of Impressionism Alongside Marie Bracquemond and Berthe Morisot.

Elizabeth Thompson (Elizabeth Southerden Thompson, later known as Lady Butler). Born 3 November, 1846, died 2 October, 1933. British Painter Who Specialized in Painting Scenes From British Military Campaigns and Battles, Including the Crimean War and the Napoleonic Wars.

Lilla Cabot Perry (born Lydia Cabot). Born January 13, 1848, died February 28, 1933. American Artist Who Worked in the American Impressionist Style, Rendering Portraits and Landscapes in the Freeform Manner of Her Mentor, Claude Monet. She Was an Early Advocate of the French Impressionist Style and Contributed to its Reception in the United States. Her Early Work Was Shaped by Her Exposure to the Boston School of Artists and Her Travels in Europe and Japan.

Anna Boch (Anna-Rosalie Boch). Born 10 February, 1848, died 25 February, 1936. Belgian Painter, Art Collector, and the Only Female Member of the Artistic Group, Les XX. Part of the Neo-Impressionist Movement.

Anna Bilińska (a.k.a. Anna Bilińska-Bohdanowicz). Born 8 December, 1854, died 8 April, 1893. Polish Painter, Known For Her Portraits. A Representative of Realism, She Spent Most of Her Life in Paris, and is Considered the "First Internationally Known Polish Woman Artist."

Cecilia Beaux (Eliza Cecilia Beaux). Born May 1, 1855, died September 17, 1942. American Artist and the First Woman to Teach Art at the Pennsylvania Academy of the Fine Arts. Known For Her Elegant and Sensitive Portraits of Friends, Relatives, and Gilded Age Patrons, She Painted Many Famous Subjects Including First Lady Edith Roosevelt, Admiral Sir David Beatty and Georges Clemenceau.

Evelyn De Morgan (Mary Evelyn Pickering). Born 30 August, 1855, died 2 May, 1919. English Painter Associated Early in Her Career With the Later Phase of the Pre-Raphaelite Movement, and Working in a Range of Styles Including Aestheticism and Symbolism. Her Paintings Rely on a Range of Metaphors to Express Spiritualist and Feminist Content; Her Later Works Also Dealt With Themes of War From a Pacifist Perspective.

Lucy Bacon (Lucy Angeline Bacon). Born July 30, 1857, died October 17, 1932. Californian Artist Known for Her California Impressionist Oil Paintings of Florals, Landscapes and Still Lifes. Studied in Paris Under the Impressionist Camille Pissarro; The Only Known Californian Artist to Have Studied Under Any of the Great French Impressionists.

Laura Muntz Lyall (Laura Adeline Muntz). Born June 18, 1860, died December 9, 1930. Canadian Impressionist Painter and Art Teacher, Known for Her Sympathetic Portrayal of Women and Children.

Olga Boznańska. Born 15 April, 1865, died 26 October, 1940. Polish Painter and Art Teacher of the Turn of the 20th Century. She Was a Notable Painter in Poland and Europe, and Was Stylistically Associated With French Impressionism, Though She Rejected This Label.

Suzanne Valadon (Marie-Clémentine Valadon). Born 23 September, 1865, died 7 April, 1938. French Painter Who, in 1894, Became the First Woman Painter Admitted to the Société Nationale des Beaux-Arts. Shocked the Artistic World by Painting Male Nudes as well as Less Idealized Images of Women (in Comparison to Those of Her Male Counterparts).

Mademoiselle Abomah (Ella Williams). Born October, 1865, death date unknown (after 1920s). African-American Performer, Giantess Who Grew to Eight Feet Tall.

Anna Connelly. Born September 23, 1868, died ~1969. Inventor of the First Fire Escape (1887), One of the First Women to Patent an Invention Without Help From a Man.

Emma Goldman. Born June 27, 1869, died May 14, 1940. Anarchist Revolutionary, Political Activist, Writer, Played a Pivotal Role in Development of Anarchist Philosophy in North America and Europe In the First Half of the 20th Century.

Ella Ewing, “The Missouri Giantess” (Ella Katherine Ewing). Born March 9, 1872, died January 10, 1913. Giantess, Performer, Considered the World’s Tallest Woman of Her Era.

Helen Keller (Helen Adams Keller). Born June 27, 1880, died June 1, 1968. Blind/Deaf, Disability Rights/etc. Activist (1909 – ?), Author (1903 – ?).

Agatha Christie (Dame Agatha Mary Clarissa Christie, Lady Mallowan, DBE (née Miller)). Born 15 September, 1890, died 12 January, 1976. English Writer, Known For Her 66 Detective Novels and 14 Short Story Collections. Dubbed “The Queen of Crime”.

Amelia Earhart (Amelia Mary Earhart). Born July 24, 1897, died January 5, 1939 (in absentia). First Solo Female Pilot (1932), Women's Rights Activist, Lost at Sea (1937).

Ebony and Ivory (Margaret Patrick and Ruth Eisenburg). Born 1902 (Eisenburg)/1913 (Patrick), died 1996 (Eisenburg)/1994 (Patrick). Elderly Interracial Piano Duo (1983 – 1988), Disabled on Opposite Sides.

Virginia Hall (Virginia Hall Goillot, Codenamed Marie and Diane, Known as “Artemis” and ”The Limping Lady” by the Germans). Born April 6, 1906, died July 8, 1982. WWII-Era Intelligence Agent (1940 – 1945), Considered “The Most Dangerous of All Allied Spies” by the Gestapo, Later Joined the CIA (1947 – 1966), Had Prosthetic Leg.

Li Zhen (李贞) (Li Danmeizi (旦妹子)). Born February, 1908, died March 11, 1990. Revolutionary (1927 – ?), First Female General of the People’s Liberation Army (1955 – ?).

Mother Teresa (Mary Teresa Bojaxhiu (born Anjezë Gonxhe Bojaxhiu)). Born 26 August, 1910, died 5 September, 1997. Albanian-Indian Catholic Nun, Founder of the Missionaries of Charity.

Rosa Parks (Rosa Louise McCauley Parks). Born February 4, 1913, died October 24, 2005. Civil Rights Activist (1943 – ?), Played a Pivotal Role in the Montgomery Bus Boycott (1955), Became Symbol of Resistance to Racial Segregation.

Judy Garland (Frances Ethel Gumm). Born June 10, 1922, died June 22, 1969. Award-Winning Singer/Actress (1924 – 1969), Starred in The Wizard of Oz (1939), A Star Is Born (1954), etc.

Stephanie Kwolek (Stephanie Louise Kwolek). Born July 31, 1923, died June 18, 2014. Award-Winning Chemist, Inventor of Kevlar (1965).

Marilyn Monroe (Norma Jeane Mortenson). Born June 1, 1926, died August 4, 1962. Award-Winning Actress (1945 – 1961), Pop/Sex Icon of Hollywood’s Golden Age, Starred in Gentlemen Prefer Blondes (1953), Some Like It Hot (1959), etc.

Ursula K. Le Guin (Ursula Kroeber Le Guin). Born October 21, 1929, died January 22, 2018. American Novelist, Best Known For Her Works of Speculative Fiction, Author of the Earthsea Series (1964 – 2018), The Left Hand of Darkness (1969), The Dispossessed (1974), etc.

Aretha Franklin (Aretha Louise Franklin). Born March 25, 1942, died August 16, 2018. Award-Winning Gospel/Rock/RnB Singer, Songwriter, Pianist, Civil Rights Activist, Record Producer (1954 – 2017).

Liza Minnelli (Liza May Minelli). Born March 12, 1946, Still Living. Award-Winning Actress, Singer, Dancer, and Choreographer (1961 – present), Daughter of Judy Garland.

Afeni Shakur (Afeni Shakur Davis, Born Alice Faye Williams). Born January 10, 1947, died May 2, 2016. American Political Activist, Member of the Black Panther Party (1968 – 1971), Mother of Tupac Shakur.

Assata Shakur (Assata Olugbala Shakur (Born JoAnne Deborah Byron), A.k.a. Joanne Chesimard). Born July 16, 1947, Still Living. American Political Activist, Convicted of Murder, Former Member of the Black Liberation Army, One of the FBI's "Most Wanted Terrorists", Friend of Afeni Shakur & Mutulu Shakur, Often Described as Their Son Tupac Shakur's "Godmother" or "Step-Aunt", Currently a Fugitive, in Asylum in Cuba.

(P.S. if I got anything wrong, feel free to correct me.)

[talonabraxas]

“He, He is the God too great to have a name ! He is the inapparent and He is the very apparent. He who the intellect contemplates ! He is also the one seen by the eyes. He is the incorporeal, the multiform, better still, the omniform. Nothing exists which He is not, for everything that exist, everything is Him. From that comes that He has all names, for all things come forth from this unique father. From that comes that He has no name at all, for He is the father of all things.” (ibid)

Amun – An Aurora Filled Sky Talon Abraxas

Amun (Amen, Amon) was the king of the gods. The name means ‘The Hidden One’.

Amun is most commonly shown entirely in human form. Often he is standing or sitting on a throne wearing a red, flat-topped crown with two tall plumes and holding a sceptre in his hand. Amun can also assume the appearance of a ram, his sacred animal. His sacred colours were blue, red, yellow and green and his images are to be found throughout the Nile Valley.

The enormous temple complex of Karnak was the principal home of Amun where he was worshiped as the prominent divine entity. During the New Kingdom, his popularity eclipsed that of other major deities; he was the ‘king of the gods’. The warrior-god Montu was believed to be a manifestation of Amun. A Theban triad consisted of Amun, his wife Mut, and their offspring Khonsu, the moon god. All three had temples at Karnak.

Amun is a god whose attributes are so extensive it lacks the personality of other deities. His role as creator is emphasised in many hymns. He was believed to be self-generated. As a fertility god, he impregnated his mother, the Celestial Cow, to ensure the fecundity of animals and plants. He was closely involved with kingship, and many pharaohs regarded themselves as one of his incarnations and incorporated his name into their own (Tut-ankh-amun).

Amun was also seen as the divine consort of Egyptian queens (‘god’s wife of Amun‘). Queen Hatshepsut (right) presented herself as an offspring of the god during a visit to her mother. His virile strength made him an appropriate deity for ensuring military victory for the pharaoh. Amun was invoked for healing from the bites of dangerous animals and other illnesses. During the New Kingdom, he was a personal-saviour god of ordinary working people, as numerous devotional stele testify. Amun later became synchronised with Re to become Amun-Re.

Many catastrophist writers have attempted to give physical identity to Amun by placing him in the world of chaos. One of the most widespread identifications is the linking of Amun with Jupiter. This is because Jupiter is the largest planet in the solar system and, since Amun was referred to as the ‘king of the gods’, Amun must therefore be Jupiter. This is an unsatisfactory explanation and exhibits a lack of knowledge about the ancient world. How could ancient people possibly know that Jupiter was the largest planet? From Earth it is a mere speck of light in the night sky. It is not even the brightest ‘star’. Excluding the Sun and Moon, the brightest light in the sky is Venus – why wasn’t Venus deemed king of the gods? What of the bright star Saturn or even Mars? If Amun was Jupiter, how do we explain Amun’s tall feathery plumes, his sacred colours, his syncretism with Re (Amun-Re) and epithets such as ‘one whose true form could never be known’? How can any of these apply to Jupiter?

Egyptologists fair no better. They understand Amun’s role in connection with the monarchy, but what is the meaning behind his strange plumes and curious epithets? Their best explanation is to present him as a solar deity – once again they point to the Sun.

The key to physically identifying and understanding Amun lies with his unusual, tall plumes and the colours contained within. They were direct representations of magical celestial lights that were observed the world over in ancient times – a phenomenon we call the Aurora.

The Aurora

The auroras are the Aurora Borealis (Northern Lights) and the Aurora Australis (Southern Lights).

Auroras are striking displays of coloured lights that are often seen over the Earth’s magnetic poles. They occur when the solar wind particles are trapped by the Earth’s magnetic field so they collide with molecules of air in the upper atmosphere (ionosphere). They are a spectacular sight and take the form of rapidly shifting patches of colour and dancing columns of light of various hues. The colours observed depend on several factors such as atmospheric conditions, intensity of the solar wind, temperature and location. The Aurora is always present in almost every area of the sky, but it is usually too faint to be seen except near the North and South Poles. The main colours of the Aurora are blue, yellow, red and green, the very same colours attributed to Amun.

The intensity of the Aurora is dictated by the solar wind, a stream of electrically charged particles from the Sun. When the solar wind blows exceptionally strong, the Aurora increases. The periods of maximum and minimum intensity of the Aurora coincide almost exactly with those of the sunspot cycle, which is an 11-year cycle. When the Sun is in the active phase it can unleash powerful magnetic storms that disable satellites, threaten astronaut safety, and even disrupt communication systems on Earth.

In March 1989, the Sun unleashed a tempest that knocked out power to all of Quebec, Canada, leaving six million people without electricity. Such intense magnetic storms cause spectacular, widespread auroras, even at latitudes as low as Mexico, which is 23 degrees north (similar latitude to Egypt).

As mentioned above 3,000 years ago, at the height of planetary chaos solar activity was far more intense than anything experienced today. Cosmic catastrophe gave way to intense geomagnetic storms and global auroras – seen at all latitudes day and night. They were observed during the day courtesy of the red Sun which gave rise to a twilight world. These shimmering magical lights were personified in the great god Amun.

Hymn to Amun

“Amun, who developed in the beginning, whose origin is unknown. No god came into being prior to Him. No other god was with Him who could say what He looked like. He had no mother who created His name. He had no father to beget Him or to sa: “This belongs to me.” Who formed His own egg. Power of secret birth, who created His (own) beauty. Most Divine God, who came into being alone. Every god came into being since He began Himself. Every being came into being when His being began being. There is nothing outside Him.”

(Praise of Amun in the Decree for Nesikhonsu)

“None of the gods knows His true form, His image is not unfolded in the papyrus rolls, nothing certain is testified about Him.”

Hymns to Amun, Papyrus Leiden I 350, chapter 200, lines 22- 24.