#marinato

[uwmspeccoll]

Excavations at Thera

The destruction of Pompeii by the volcano Vesuvius has become synonymous with the nature disaster of volcanic eruptions. The eruption of Vesuvius, among the deadliest in history, was the first natural disaster of its kind to have a first-handwritten account and this documented event has persisted in the public consciousness for nearly two millennia. Yet, despite being the one of the most famous and the deadliest, the eruption of Vesuvius is far from the most destructive. That honor might well go to the eruption of Thera in the 16th or 17th century BCE.

Excavations conducted on this Cycladic Island (among the Aegean Islands), such as the ones recorded in Excavations at Thera a seven-volume set of reports written by by the noted Greek archaeologist Spyridon Marinatos and published by Archaiologikē Hetaireia en Athēnais between 1967-1971, showed that during the Minoan period (2000-1200 BCE) Thera once held an integral port city. Remains showed that though the city was flourishing, its inhabitants abandoned the island for reasons that would soon become apparent to the excavators. It didn’t take long for archaeologists to discover that Thera once held an oval shape, differing greatly to the crescent it is today. Further inspection revealed that several ancient structures were far underwater, pointing to the island collapsing in on itself after their construction. It wasn’t long before the pieces were put together, leading to the discovery that Thera once held an active volcano that erupted in the Minoan period, destroying the island in its entirety.

The collapse of the Minoan civilization has been a mystery that persists to this day, yet finding this once active volcano led many to draw lines of connection between the two events. The reports written by Professor Marinatos reference this theory as near fact when describing the history of the ancient civilization. Such a theory does make a good amount of sense as this eruption would have been much greater than that of Vesuvius with estimated effects reaching all the way to China with reports of a series of harsh winters. Yet as excavations on both the Cycladic Islands and Crete continued, the date for the eruption got pushed back as the fall of the Minoan civilization crept forward. Currently the most accurate date for the eruption of Thera is 1628 BCE with some room for error while the fall of the Minoans sits between 1200-1100 BCE.  

View more of my Classics posts.

– LauraJean, Special Collections Undergraduate Classics Intern

[aboutanancientenquiry]

Minoan Kingship and the Solar Goddess

A Near Eastern Koine

Author: Nanno Marinatos

An illustrated guide to Minoan images and symbols

Publication Date

Paperback: 09/01/2013

ABOUT THE BOOK

Ancient Minoan culture has been typically viewed as an ancestor of classical Greek civilization, but this book shows that Minoan Crete was on the periphery of a powerfully dynamic cultural interchange with its neighbors. Rather than viewing Crete as the autochthonous ancestor of Greece's glory, Nanno Marinatos considers ancient Crete in the context of its powerful competitors to the east and south. Analyzing the symbols of the Minoan theocratic system and their similarities to those of Syria, Anatolia, and Egypt, Marinatos unlocks many Minoan visual riddles and establishes what she calls a "cultural koine," or standard set of cultural assumptions, that circulated throughout the Near East and the eastern Mediterranean at the time Minoan civilization reached its peak. With more than 150 illustrations, Minoan Kingship and the Solar Goddess delivers a comprehensive reading of Minoan art as a system of thought.

Contents

Preface [ix]1.

 Introduction [1]

2. The King and Queen in Art [12]

3. The King and Queen as High Priests [32]

4. Thrones of Gods—Thrones of Kings [50]

5. The House of God [66] 6. Who Sees the Gods Face to Face? [78]

7. Minoan Prophecy and Royal Power [86]

8. The Cosmic Mountain as a Frontier [103]

9. The Double Axe, the Ankh, and the Ox Head [114]

10. The Rosette, Half-Rosette, and “Incurved Altar” [131]

11. Minoan Afterlife Beliefs [140]

12. The Solar Goddess of Kingship [151]

13. The Storm God [167]

14. Translating the Gods of the Religious Koine [186]

15. Conclusions: A Tribute to Sir Arthur Evans [193]

Notes [197]

Bibliography [225]

Figures and Credits [247]

Index [255]

Nanno Ourania Marinatos (Oυρανία -Ναννώ- Μαρινάτου), PhD, Professor Emerita, Classics and Mediterranean Studies, University of Illinois, Chicago (https://en.wikipedia.org/wiki/Nanno_Marinatos )

According to the review of the book by British  classical archaeologist and art historian John Boardman (https://muse.jhu.edu/article/472181 ):

 “Of all ancient civilizations, the one we might most cheerfully assign to invasion from outer space is the Minoan. It had no obvious antecedents in Greece and no real following, except for the short period of Mycenaean takeover. Arthur Evans, who discovered the Minoans at Knossos, drew the more obvious comparisons with the arts and religions of the East and Egypt—none terribly close and wholly overworked by a culture that viewed its arts and their messages in a way quite unparalleled elsewhere, and intelligible to us only because its practitioners were not little green men but a rather special breed of Homo sapiens. Their religious apparatus was peculiar to them (double axes, horns), and the personnel humanoid, but for a demon that owes a little to Egypt. Religious scenes bear slight resemblance to those of southern or eastern neighbors, and the strongly individual style of figure and animal drawings as well as scene composition is particular to them. Nanno Marinatos, daughter of the most vigorous Greek explorer of the Minoans, has worked this area before, but her new book places them more persuasively in the context of their neighbors, as well as of their own idiosyncratic view of the world, than as forerunners of the classical—which is quite inconceivable. Yet to include them in a “Near Eastern koine” stretches the idea of a koine almost to bursting point. They were the children of their age, as were their neighbors, but more dependent on a strong individuality of approach and vision, perhaps promoted by their physical remoteness from the Levant and Egypt—a remoteness they bade to reduce by travel, as had all occupants of Greece’s relatively sterile land, and in this respect alone foreshadowing the behavior and achievement of their successors there.”

For other reviews of Pr. Marinatos book and thesis on the Minoans see:

https://www.aegeussociety.org/en/book_reviews/review-of-nanno-marinatos-2010-minoan-kingship-and-the-solar-goddess-a-near-eastern-koine-urbana-university-of-illinois-press/

https://www.academia.edu/1236290/Review_of_Nanno_Marinatos_Minoan_Kingship_and_the_Solar_Goddess_A_Near_Eastern_Koine._Urbana_and_Chicago_University_of_Illinois_Press_2010

[thedeadestletter]

The Rasmus and Overlaps on tour, autumn 2022

[famousborntoday]

Greek naval officer who led the Greek fleet during the Greek War of Independence, defeating the Ottoman Empire at the Battle of Navpaktos in 1827.

Link: Spyridon Marinatos

[laschiaccianoci]

PANINO CON TOFU MARINATO

Ami la cucina vegana o sei alla ricerca di alternative sane e gustose? Allora devi assolutamente provare il tofu! È uno degli ingredienti più versatili che puoi avere nel tuo frigo: si adatta a ogni tipo di piatto e può diventare la star delle tue ricette più creative. Ma ricorda, il tofu merita attenzione e cura: se lo tratti come un semplice ingrediente, rischi di non apprezzarne il vero…

[ricettesimpatichefatteinsieme]

stinco di maiale morbido in padella marinato nel vino rosso speziato 

[calopepe]

Fettine di sgombro marinato e mele annurca

Fettine di sgombro marinato e mele annurca

Fettine di sgombro marinato e mele annurca Fettine di sgombro marinato e mele annurca In questo periodo ci sono sgombri discreti e tante mele, le annurca sono fra le mie preferite quindi mettiamole insieme in un piatto. Mela Annurca – Lo Sgombro, maccarello o lacerto – Differenza fra Sgombro e Lanzardo Ingredienti per 4 persone 4 sgombri 2 mele annurca 1 peperoncino a piacere io ho usato uno di…

[planet-gay-comic]

The Minoan Civilization: A Surprisingly Modern Society

The Minoan civilization, which flourished on the island of Crete, is renowned for its advanced and, for its time, unusually liberal society. Although our knowledge of the Minoans is incomplete due to limited written sources and primarily based on archaeological finds, a picture emerges of a culture that, from around 2700 to 1450 BC, exhibited remarkable openness, equality, and joie de vivre.

Equality and Tolerance

Current archaeological and anthropological studies often highlight the Minoans' liberal attitude. Researchers like Nanno Marinatos have examined the religious and social structures of the Minoans and found that this society exhibited an unusually high level of gender equality for its time. Women actively participated in public life, possibly held leadership positions such as priestesses, and enjoyed similar rights to men in the private sphere.

Regarding sexuality, the Minoans also appear to have adopted a tolerant attitude. Artistic depictions of intimate relationships between same-sex individuals suggest that such relationships were accepted in Minoan society. Although the interpretation of these depictions is debated among scholars, there are numerous indications that the Minoans had a more open stance towards various forms of love and romance, including same-sex relationships. The portrayal of homoerotic scenes in art and a relaxed attitude towards sexuality indicate that such relationships were accepted and respected in Minoan society.

Katherine A. Schwab: Her work on Minoan frescoes and the analysis of the scenes depicted provide insights into the social dynamics and possible homoerotic aspects of Minoan culture. Current archaeological and anthropological studies often emphasize the Minoans' liberal attitude. Researchers like Nanno Marinatos have examined the religious and social structures of the Minoans and found that this society exhibited remarkable openness and tolerance towards various lifestyles.

Cultural and Social Freedom

Minoan culture was characterized by its artistic flourishing and a preference for the beautiful and pleasurable. The Minoans were masters in the art of fresco painting, ceramics, and architecture. Their palaces, such as the famous Palace of Knossos, were not only political and economic centers but also places of art and culture.

The Minoans lived in close contact with nature, as reflected in their frescoes, which often depicted dolphins, lilies, and other natural motifs. This deep connection with the natural environment is also evident in their appreciation of water, which likely played a significant role in ritual purification and bathing practices.

Festivals, dances, and athletic competitions were integral parts of social life. These events provided not only entertainment but also strengthened the Minoan community and identity through shared experiences.

Religion and Spirituality

Religion played a central role in the lives of the Minoans, and their spiritual practices reflected their liberal values. The Minoan religion was matriarchal, with goddesses such as the Snake Goddess being central figures. The worship of goddesses is often associated with the high status of women in society, as they symbolized aspects such as female fertility and the power of nature.

Rituals and religious ceremonies were opportunities for the community to gather, celebrate, and express their connection with nature and the divine. These rituals, often accompanied by music and dance, emphasized harmony and unity with the environment.

The Minoan civilization was, in many ways, a fascinating and progressive culture, whose societal structure differed from many other ancient cultures. Their values of equality, cultural freedom, and spiritual connectedness remain relevant and inspiring today. The Minoans show us that progressive societal forms were not only a phenomenon of modernity but also existed in antiquity.

Text supported by GPT-4o, Gemini AI

Base images generated with DALL-E, overworked with SD-1.5/SDXL inpainting and composing.

[boricuabrujita]

Female Blood Rites in Ancient Times

A sneak peek of a brief segment I’ll be going over in one of my upcoming classes for November. I’m currently doing research for my upcoming class “Mythos Astrology: The Underworld Descent with The Goddess Persephone”. For more info visit my Instagram @priestessofmoonlight.

The Blood Mysteries of Womanhood have unfortunately lost their importance in appreciation, celebration and even proper education. In my own experience with menarche; it was overlooked, painful, scary, and lacked meaning. It was as simple as “here is a pad. It’s normal. An unfortunate circumstance with womanhood”. Which couldn’t be further from the truth! With this lack of a rite of passage, many women go on to depreciate their bodies, fear the inevitable changes and receive ridicule along with disgust from their ignorant male counterparts (and fellow females). Ancient Minoans would perhaps look in horror at how we’ve neglected our gratitude to the natural cycles and world.

As pictured in photos 2 and 3 are sketches of frescoes found in Santorini, Greece at the archaeological site Akrotiri, Thera. In photo 2, you’ll see three girls all in different age groups. The far right being the youngest with a shaved head with scalp locks, no breasts and veil which covers her completely. Looking in shock at the shrine with horns which bloods draws down from; a formidable reminder of blood and womanhood via menstruation and birthing.

While the woman in the middle has fully grown hair, sits down and is experiencing pain and blood directly from her foot. You can see her breasts and her hair is adorned with olive branch and an Iris pin. Since she’s sitting on a rock as well surrounded by crocus, she is the only one who is part of the landscape in a sense. Apparently, Minoan art also uses inverted landscapes to suggest depth. The bleeding of her foot while she is foraging for crocus/saffron might allude to the female rite of passage; that is the pain/blood of entering womanhood. For the festival of the goddess girls coming of age were tasked with journeying the hills to gather saffron as an offering. Oftentimes, leaving the city or venturing outside of the mundane and the seclusion alludes to a rite of passage taking place. Doing the trek barefoot is bound to make for bloody feet. Again, a pain-causing venture to teach the young women endurance for pain and awareness of one’s blood.

The third girl to the left is the oldest and is fully initiated. Her breasts are full, she doesn’t have the forelock of youth, long hair, and is carrying a necklace. Most likely, an offering to be deposited inside of the innermost sanctuary of this temple.

In photo 3, pictured is a crocus/saffron gatherer aka priestess giving her plant offerings to a throned goddess. A monkey to the left and griffin to the right are the Goddess’s attendants.

Source: “Minoan Religion: Ritual, Image and Symbol”, Nanno Marinatos (1993).

[chthonic-cassandra]

Top Reading Experiences, 2023

In a few categories, because lists are satisfying.

Series - Anne Rice, The Vampire Chronicles - I reread almost the entirety of the series (I skipped Memnoch), and read the weird ones that I had skipped the first time. Fascinating, wild reading experience to do it all together. Chronicled here, though it subsequently turned into my general VC tag. - C. J. Cherryh, Alliance-Union series - I reread Cyteen and then read Regenesis and 40,000 in Gehenna for the first time. While Cyteen is unmatched, I loved reading the others as well, and am looking forward to reading the rest of them slowly, gradually, and lovingly. Immensely satisfying experience of science fiction. - Tanith Lee, Tales from the Flat Earth - reread the first three, read Night's Daughter and Night's Sorceries for the first time. More to come on these. I haven't yet gotten a hold of the remaining few stories in the series, which were recently published for the first time. - Tanith Lee, Unicorn series - I started 2023 with these. Just a delight. - Pat Barker, Regeneration - reread for the first time in many years. Still so good, though the first is notably the tightest. Its reflection on moral injury felt very grounding right now.

Other notable rereads - Henry James, The Golden Bowl - Charlotte Bronte, Jane Eyre - Annie G. Rogers, The Unsayable - Caitlin Sweet, The Pattern Scars - Susanna Clarke, Piranesi - Elizabeth E. Wein, The Lion Hunter and The Empty Kingdom - Salman Rushdie, Midnight's Children

Fiction, read for the first time - Wole Soyinka, Chronicles from the Land of the Happiest People on Earth - A. S. Byatt, Medusa's Ankles: Selected Stories - Dion Fortune, The Demon Lover - Pauline Elizabeth Hopkins, Of One Blood - Maureen McHugh, China Mountain Zhang - Werner Herzog, The Twilight World - Vanessa Hua, Forbidden City - Marina Dyachenko, Assassin of Reality - Magda Szabo, The Fawn - Shehan Karunatilaka, The Seven Moons of Maali Almeida - Selby Wynn Schwartz, After Sappho - Maggie O'Farrell, The Marriage Portrait - Vajra Chandrasekera, The Saint of Bright Doors

Non-fiction, read for the first time - Artemis Leontis, Eva Sikelianos Palmer: A Life in Ruins - Shane McRae, Pulling the Chariot of the Sun: A Memoir of a Kidnapping - Claire Mac Cumhaill & Rachel Weisman, Metaphysical Animals: How Four Women Brought Philosophy Back to Life - Simon Palfrey & Tiffany Stern, Shakespeare in Parts - Nayan Shah, Refusal to Eat: A Century of Prison Hunger Strikes - Hugh Ryan, The Women's House of Detention: A Queer History of a Forgotten Prison - Ron E. Hassner, Anatomy of Torture - Judith Herman, Truth and Repair - Julie Phillips, The Baby on the Fire Escape: Creativity, Motherhood, and the Mind-Baby Problem - Nanno Marinatos, Minoan Religion

[turuin]

Day 13

Giorno 13 - ieri.

Totale caffè bevuti, due.

Rientrati da Senigallia in tarda mattinata, ma sia io che la bimba non stavamo bene (lei peggio) a causa della cena di ieri. Quindi, per tutti pranzo leggero: riso in bianco accompagnato da un pomodoro leggermente condito (questo solo per gli adulti).

A cena ho deciso di darmi al regno vegetale, ché io quella melanzana al forno ce l'avevo ancora qui (due dita ad indicare la gola, e a significare che m'era rimasto il desiderio di assaggiarla) e quindi: fettine di petto pollo marinato in olio, sale e rosmarino per tutti; zucchine intagliate con olio e sale in friggitrice ad aria, melanzana idem e una zucchina tagliata a fette, grigliata in padella e poi condita con olio e sale. Abbiamo anche tagliato un melone per il dopocena (gira adesso, molto, questo melone che si chiama Dino ed assomiglia ad un uovo di dinosauro, ed è molto dolce).

Il sonno è arrivato presto ed è stato piuttosto profondo, ma ho il torcicollo.

Oggi si parte per la prima tappa, ma non sappiamo ancora esattamente a che ora - si ipotizza intorno a metà giornata, in modo da essere in Puglia nel pomeriggio. Sperando di non trovare troppo traffico.

Oggi mi sono svegliato con questa in testa, e l'ho ascoltata poco fa, esercitando un po' le braccia coi pesi:

[aboutanancientenquiry]

“Truth in History: The principles of Herodotus in connection with the work of Dimitris Kyrtatas 

Nanno Marinatos 

Emerita, Distinguished Professor of Classics 

University of Illinois at Chicago 

 Περίληψη: Το έργο του Δημήτρη Κυρτάτα χαρακτηρίζεται από την ισορροπημένη παρουσίαση των πηγών που οδηγεί σε δίκαιες αποτιμήσεις της ιστορικής πραγματικότητας. Το ίδιο περίπου κάνει και ο αγαπημένος του αρχαίος συγγραφέας, ο ιστορικός Ηρόδοτος. Πολλές φορές παραθέτει και αυτός πηγές που δεν θα τις θεωρούσε αξιόπιστες ένας επαγγελματίας ιστορικός σήμερα, όμως η ανθρώπινη φαντασία είναι και αυτή μέρος της ιστορίας. Όπως γράφει χαρακτηριστικά: “στο κάτω κάτω, τα παραμύθια και τα ανέκδοτα, οι συκοφαντίες και οι παραπλανητικές διαδόσεις είναι επίσης μέρος της ιστορίας” (Οδός, 2020, 19).

Abstract: The work of D. Kyrtatas is characterized by the balanced presentation of the sources that leads to fair assessments of the historical reality. His favorite ancient writer, the historian Herodotus, does much the same since he often cites sources that a professional historian today would not consider credible. However, both Herodotus and Kyrtatas believe that imagination is an integral part of human history. As D. Kyrtatas characteristically writes: "After all, fairy tales and anecdotes, slander and misleading propaganda are also part of history” (Οδός 2020, 19). 

Λέξεις κλειδιά: Αλήθεια, ιστορία, δικαιοσύνη, πολυφωνία

Key words: Truth, history, fairness, polyphony 

Polyphony 

If I were to single out one recognizable feature of Dimitris Kyrtatas’ scholarly work, this would be his narrative fairness, his reluctance to pass judgments on characters and situations and his unwillingness to privilege formal traditions over secondary ones. In his view, every tradition contains valuable elements and hence is entitled to discussion. Kyrtatas achieves his goals first by selecting the appropriate materials (see below) and second by minimizing his own authorial interference. He often cites points of view exactly as presented by the original narrators of the ancient texts and by so doing, he  avoids succumbing to academic orthodoxy. In his book Ελληνική Αρχαιότητα (Greek Antiquity), co-authored with Spyridon Rangos, the writers declare that they are interested in rendering what the ancient authors handed down, the how and why of their arguments, without trying to relate their sayings to modern academic orthodoxy.

Δεν υιοθετήσαμε πλήρως την υπερκριτική στάση της σύγχρονης έρευνας. Ενδιαφερθήκαμε συχνά να αποδώσουμε τι παραδίδουν οι αρχαίοι συγγραφείς, πώς και γιατί ισχυρίζονται, χωρίς να συσχετίσουμε πάντα τα λεγόμενα τους με τα πορίσματα της νεότερης ακαδημαικής ορθοδοξίας. Ενα από τα μελήματα μας ήταν οι τρόποι πρόσληψης του παρελθόντος... από τους ίδιους τους Ελληνες. Επινοημένοι θρύλοι και μεταγενέστερα ανέκδοτα εκτίθενται ενίοτε ως στοιχεία ενδεικτικά του αρχαίου τρόπου σκέψης (Ελληνική Αρχαιότητα, 2010, 5).

The title of Kyrtatas’ latest book Η Οδός (Pathway) is suggestive of the multiple paths of the world of Late Antiquity and includes a wide range of sources and unusual tales, some of which may appear unreliable to the factual historian. And yet, such stories yield information which is of great interest. “After all,” Kyrtatas writes, “tales and anecdotes, slander and misleading rumours are also part of history” (στο κάτω κάτω, τα παραμύθια και τα ανέκδοτα, οι συκοφαντίες και οι παραπλανητικές διαδόσεις είναι επίσης μέρος της ιστορίας”) (Οδός, 2020, 19)    

This makes Kyrtatas’ scholarly work polyphonic.

Herodotus: Human thought as History 

Given the polyphonic approach, it is appropriate to include in this honorary volume some reflections on his favourite ancient historian, Herodotus, whose story-telling is also polyphonic. Needless to repeat what is well-known, namely that Herodotus has been severely misunderstood in the past. He was once viewed as an unreliable historian, a collector of tales and fantasies, a geographer whose original purpose was to be a sensationalist ethnographer and an entertainer of the public. The great German scholar Felix Jacoby, however, while maintaining the view that Herodotus was originally a geographer, also stressed that the latter developed into a good historian.1 Others have been less kind even calling him a liar who manipulated his evidence by use of rhetorical tricks and fake autopsies.2 Fortunately, this extreme position has not found general acceptance: now Herodotus is viewed as a complex and, for the most part, reliable narrator.3

The issue here, however, is not only Herodotus’ reliability but also his approach to reporting. Take as an example what he writes about the distant lands of the northern sphere. He admits that he did not visit these places in person because of their remote location at the edges of the world, but he reproduces what he has heard from others, sometimes repeating the writings of older poets. He does not hesitate to use oral reports collected during his travels. 

Regarding places and creatures in the distant north, Herodotus writes: 

There is also a story related in a poem by Aristeas son of Caüstrobius, a man of Proconnesus. This Aristeas, possessed by Phoebus, visited the Issedones; beyond these (he said) live the one-eyed Arimaspians, beyond whom are the griffins that guard gold, and beyond these again the Hyperboreans, whose territory reaches to the sea (4.13.1; Godley). 

Herodotus does not claim here that his report is factually true but rather the opposite, since he states explicitly that he could not find eyewitnesses who had seen the lands and creatures of the north with their own eyes: 

I can find out from no one who claims to know as an eyewitness. For even Aristeas, whom I recently mentioned—even he did not claim to have gone beyond the Issedones, even though a poet; but he spoke by hearsay of what lay north, saying that the Issedones had told him. But all that we have been able to learn for certain by report of the farthest lands shall be told. (4. 16. 1-2; Godley; italics mine).

 Given Herodotus’ admittance that reports are not verifiable, the reader has the right to wonder why he bothers to record the poet Aristeas’ account. The answer is that he made a conscious choice to record all versions of human thought and not to confine himself to those facts which were provable by autopsy. All stories, written or oral, had a certain validity for him because fantasy was in itself a record of human history. 

Consider another passage in which Herodotus describes a lake near Chalcedon, in North Africa. 

It is said that there is a lake on this island from which the maidens of the country draw gold-dust out of the mud on feathers smeared with pitch. I do not know whether this is true; I just write what is said (4.195.3; Godley;...). 

Even though the story cannot be verified, Herodotus decides here that hearsay constitutes an aspect of human tradition but warns his reader that a distinction must be drawn between verifiable truth and hearsay (εἰ μὲν ἔστι ἀληθέως οὐκ οἶδα, τὰ δὲ λέγεται γράφω). This reminds of Kyrtatas’ dictum that even misleading traditions are part of history (Οδός 2020, 19).

Reason and Scientific Truth

 As has already been hinted above, Herodotus was not indifferent to the factuality of circumstances, places and events. On the contrary, when he proposes a hypothesis, he takes pains to spell out his evidence and to base his theory on reason. For example, he declares that the alleged pyramid of Rhodopis in Egypt was not built by this famous courtesan (incidentally, Rhodopis was of Greek origin but lived in Egypt) because she did not possess the richness necessary to build a pyramid:

 …indeed, it is clear to me that they say this without even knowing who Rhodopis was (otherwise, they would never have credited her with the building of a pyramid on which what I may call an uncountable sum of money was spent) … (2. 134.2; Godley).

 Herodotus concludes that the story is not reliable on the basis of reason. Another example concerns the mythical river Ocean, which certain ancient researchers (like Hecataeus) had associated with the origins of the Nile. Herodotus, however, claims that this river did not really exist - except in human fantasy. 

The opinion about Ocean is grounded in obscurity and needs no disproof; for I know of no Ocean river; and I suppose that Homer or some older poet invented this name and brought it into his poetry (2.23; Godley). 

By making this statement about fantasy and invention, Herodotus shows that he was perfectly aware of the difference between written testimony and autopsy, on the one hand, and oral tales, on the other, showing awareness that oral tradition may involve fantasy and does not qualify as scientific truth. When it comes to scientific truth he is very strict and insists on solid evidence: autopsy, tokens, clues (τεκμήρια 2. 13; 9. 100; μαρτύριον 2.22.2). Clues and physical evidence are combined, and an inference is drawn to propose a plausible conclusion (the word he uses is οἰκότως, 2. 245). For example, Herodotus deduces the Greekness of Macedonians from the historical evidence that their king Alexander was proven to be Greek:

 Now that these descendants of Perdiccas are Greeks, as they themselves say, I myself chance to know and will prove it in the later part of my history (ἀποδέξω ὡς εἰσὶ Ἓλληνες). 

Furthermore, the Hellenodicae who manage the contest at Olympia determined that it is so, for when Alexander chose to contend and entered the lists for that purpose, the Greeks who were to run against him wanted to bar him from the race, saying that the contest should be for Greeks and not for foreigners. Alexander, however, proving himself to be an Argive, was judged to be a Greek. He accordingly competed in the furlong race and tied step for first place. This, then, is approximately what happened (5. 22 1-2; Godley).

At another place, Herodotus argues that reason leads to plausible historical hypotheses: “what is not knowable I deduce” (τά μὴ γινωσκόμενα τεκμαιρόμενος, 2.33.2). As for autopsy, he checks some of the facts in person so that he may discern with clarity what happened (σαφές τι εἰδέναι, 2. 44).4 For example, he sails to Tyre to inspect the sanctuary of Heracles about which he has heard rumours of its wealth, but he does not stop at hearsay wishing to verify the rumours in person. Thus, he records first what he saw with his own eyes (εἶδον), and then draws further conclusions from clues (σημεῖα), which testify to the fact that the sanctuary was rich and holy. In short, when his concern is scientific truth, his method is sound even by modern standards of historiography. 

Even Herodotus’ attitude to the divine is based on reason and not on mere faith. For example, the same signs/omens were received by Greeks at two different places during the Persian wars in the same day, at Mycale and Plataia: this, he thinks, this is not coincidence but evidence of divine intervention in human affairs. 

Now there are many clear indications of the divine ordering of things, seeing that a message, which greatly heartened the army and made it ready to face danger, arrived amongst the Greeks the very day on which the Persians' disaster at Plataea and that other which was to befall them at Mykale took place (9. 100. 2; Godley). 

δῆλα δὴ πολλοῖσι τεκμηρίοισι ἐστὶ τὰ θεῖα τῶν πρηγμάτων, εἰ καὶ τότε, τῆς αὐτῆς ἡμέρης συμπιπτούσης τοῦ τε ἐν Πλαταιῇσι καὶ τοῦ ἐν Μυκάλῃ μέλλοντος ἔσεσθαι τρώματος, φήμη τοῖσι Ἕλλησι τοῖσι ταύτῃ ἐσαπίκετο, ὥστε θαρσῆσαί τε τὴν στρατιὴν πολλῷ μᾶλλον καὶ ἐθέλειν προθυμότερον κινδυνεύειν.  (9.100.2).

Cases of Personal Condemnation

 As far as versions of truth are concerned, Herodotus may either maintain his distance and give the points of view of both sides, or he may pass a severe judgment but bases it on solid moral grounds. 

An example of the former category (staying distant) concerns the role of Argos during the Persian Wars. This issue was probably hotly debated in Athens when Herodotus was resident there composing and performing his monumental oeuvre.5 Athens was considering the possibility of making an alliance with Argos only a year after she had signed a peace treaty with Sparta (Peace of Nicias 421 BCE). The Athenian statesman Nicias believed that an alliance with Argos would endanger the peace with Sparta since Argos was an enemy of the former city. But other politicians, especially the young Alcibiades, did not hesitate to promote the alliance and was willing to risk alienation from Sparta (Thuc.5. 43). 

As the issue was debated, some people plausibly brought forth the accusation that the Argives had medized during the Persian wars some 60 years earlier. On this issue, Herodotus does not pass judgment. 

Now, whether it is true that Xerxes sent a herald with such a message to Argos [namely invitation to medize], and that the Argive envoys came up to Susa and questioned Artaxerxes about their friendship, I cannot say with exactness, nor do I now declare that I consider anything true except what the Argives themselves say. This, however, I know full well, namely if all men should carry their own private troubles to market for barter with their neighbors, there would not be a single one who, when he had looked into the troubles of other men, would not be glad to carry home again what he had brought. The conduct of the Argives was accordingly not utterly shameful. As for myself, although it is my business to set down that which is told me, to believe it is none at all of my business (ἐγὼ δὲ ὀφείλω λέγειν τὰ λεγόμενα, πείθεσθαί γε μὲν οὐ παντάπασι ὀφείλω). This I ask the reader to hold true for the whole of my history, for there is another tale current, according to which it would seem that it was the Argives who invited the Persian into Hellas, because the war with the Lacedaemonians was going badly, and they would prefer anything to their present distresses (7. 152.1-3; Godley modified). 

In the above case, Herodotus is fair to the Argives by carefully maintaining his distance. But consider how differently he discusses Ephialtes, the man who led the Persians along a secret path and enabled them to surround Leonidas at Thermopylai. In this instance, Herodotus records Ephialtes’ name with the purpose of staining his memory and does so deliberately. Note, however, that he has made sure first that he was indeed the traitor.

 Onetes might have known the path, although he was not a Malian, if he had often come to that country, but Epialtes was the one who guided them along the path around the mountain. It is he whom I put on record as guilty (τοῦτον αἴτιον γράφω, 7. 214, Godley...). 

By putting the traitor’s name on record, Herodotus makes the accusation permanent for future generations to read and takes a firm stand against all those who betrayed their fellow Greeks. At the same time, he expresses his admiration for Leonidas with the intention of preserving the latter’s glory for the future.

 …he would leave a name of great fame, and the prosperity of Sparta would not be blotted out (κλέος μέγα ἐλείπετο, καὶ ἡ Σπάρτης εὐδαιμονίη οὐκ ἐξηλείφετο, 7. 220.2-3; Godley).

The few passages discussed in this paper illustrate a paradox. Herodotus was fair but not always distant since, on certain occasions, he declares his opinion- even his subjectivity - openly and decidedly. His subjectivity, though, is based on clear principle. When he bestows praise, it is because the individual put the community above their own self-interest, as Leonidas did. Conversely, when the individual puts his personal interests above the good of others (as Ephialtes did), Herodotus does not hesitate to condemn the character especially those who committed outrageous transgressions, moral and religious. 6 

Returning now to the work of Kyrtatas, he is careful not to pass judgments even on matters of ethics. In his book Παιδαγωγός (The Educator), he writes: “I must stress that my own subject is education not ethics.” (Οφείλω να τονίσω, ότι το θέμα μου είναι η ηθική διαπαιδαγώγηση, όχι η ηθική). 7

Truth in History: Selecting Materials 

As we have seen, truth and fairness in history are complex matters. Herodotus does not claim total objectivity, which is anyway difficult to attain since the selection of events is itself predetermined by the selector’s perceptual filters, but he claims fairness when he writes that he will report both about the large and the small states: 

For many states that were once great have now become small; and those that were great in my time were small before. Knowing therefore that human prosperity never continues in the same place, I shall mention both alike. (1. 5)

 It has also been mentioned here that Herodotus pronounces his personal judgement on matters of ethics, if he can show that an individual harmed his or her community or committed some heinous crime of which even the divine disapproves.8 Concerning how he selected his material, he reproduces a variety of sources and types of materials with the aim of presenting a complex and fair record of human history including different versions of events, Greek or non-Greek.

 These are the stories of the Persians and the Phoenicians. For my part, I shall not say that this or that story is true, but I shall identify the one who I myself know did the Greeks unjust deeds (1. 4-5; Godley)

 I will end with the type of material which Dimitris Kyrtatas selects for his historical treatises. First, he chooses material which does not reproduce official dogma. Second, he seeks better to understand the role played by underrepresented groups, for example slaves or women who, as he demonstrates, played a major role in spreading Christianity: an  example is a lady of the aristocracy who hosted Origen and favoured Paul. 9 Third, he tells stories which may concern the villains of official tradition. Take for example, the figure of Simon the mystic, who was supposedly accompanied in his tours by the legendary Helen. Apparently, Simon was regarded suspiciously by the Church because some details of the miracles he performed were thought to parallel the acts of Jesus; this may be the reason why he does not appear in official texts. Simon’s tale may or may not be based on true facts, but what is undeniable is that it sheds light on the conflicting versions of Christianity. 10 And this is an example of truth of history.

1 Jacoby 1913; Aly 1921. 

2 Fehling 1989. 

3 See Lloyd 1975-78; Hartog 2009. Most important is the debate between Fehling 1989 and Prichett 1993. For Herodotus’ narrative technique see Bakker, de Jong and van Wees 2002; Baragwanath and de Bakker 2012.

4 Scanlon 2002, 140-144, points out that safes is sometimes coupled with clear sight, that which is visible. Herodotus may be indebted to Xenophanes as Lloyd 1975 (v. 1), 158-60, claims. 5 Fornara 1981; Luraghi 2018

6 See below n.7. 

7 Kyrtatas 1994, 13. 

8 Examples are Cambyses’ crimes of madness, Cleomenes’ transgressions in state of madness (5.42) and Pheretima’s excessive revenge of the wives of her enemy which incited the ill-will of the divine (4. 205).

9 Kyrtatas 2020, 88-89. 

10 Kyrtatas 2004, 10-11.

Selected Bibliography 

A. D. Godley 1920. Herodotus (English Translation) Cambridge: Harvard University Press.

 Aly, Wolf 1921. Volksmärchen Sage und Novelle bei Herodot und seine Zeitgenossen. Göttingen: Vanderhoeck u. Ruprecht. 

David Asheri, Allan B. Lloyd, A. Corcella 2007. A Commentary on Herodotus, Books IIV. Oxford: Oxford University Press. 

Egbert J. Bakker, Irene J. F. de Jong, Hans van Wees 2002. Brill’s Companion to Herodotus. Brill: Leiden, Boston, Koln. 

Emily Baragwanath and Mathieu de Bakker 2012. Myth, Truth and Narrative in Herodotus. Oxford: Oxford University Press. 

De Jong, Irene 2012. “The Helen Logos and Herodotus’ Fingerprint” in Emily Baragwanath and Mathieu de Bakker. Myth, Truth and Narrative in Herodotus, Oxford et al.: Oxford University Press, 127-142.

 Dewald Carolyn 2005. Thucydides' War Narrative. A Structural Study. Berkeley, Los Angeles and London: University of California Press.

 Fehling, Detlev 1989. Herodotus and his ‘Sources’: Citation, Invention and Narrative Art. Transl. J. G. Howie. Leeds: Francis Cairns. 

Charles Fornara 1971. "Evidence for the Date of Herodotus' Publication," JHS 91, 25-34. 

Charles Fornara 1981. "Herodotus' Knowledge of the Archidamian War," Hermes 109, 149-156. 

Hartog, Francois 2009. The Mirror of Herodotus. The Representation of the Other in the Writing of History. Translated by Janet Lloyd. University of California Press. 

Jacoby Felix 1913. “Herodotos”, RE Supplb.II, 2062. 

Δημήτρης Κυρτάτας 1994. Παιδαγωγός. Αθήνα: Ι��τορικό Αρχείο Ελληνικής Νεολαίας. Γενική Γραμματεία Νέας Γενιάς. 

Δημήτρης Κυρτάτας  2004. Απόκρυφες Ιστορίες. Αθήνα: Άγρα.

Δημήτρης Κυρτάτας  2010. Ελληνική Αρχαιότητα. Αθήνα: INΣ. 

Δημήτρης Κυρτάτας 2020. H Oδός. Αθήνα: Εκδόσεις του Εικοστού Πρώτου. 

Alan B. Lloyd 1975-1988. Herodotus, Book II (v. 1-3) Leiden: E. J. Brill. 

Nino Luraghi 2018. “Reading Herodotus During the Archidamian War”, Quaderni Urbinati di Cultura Classica 118, 11-44. 

William Kendrick Pritchett 1993. The Liar School of Herodotos. Amsterdam: J.C. Gieben. 

Thomas Scanlon 2002. “The Clear Truth in Thucydides”, Historia, Zeitschrift für Alte Geschichte, 51, 131-148.”

Source:  http://www.postaugustum.com/journal/nanno-marinatos-truth-in-history-the-principles-of-herodotus-in-connection-with-the-work-of-dimitris-kyrtatas-%CF%83-5/ ,  http://www.postaugustum.com/journal/wp-content/uploads/2021/04/%CE%9C%CE%B1%CF%81%CE%B9%CE%BD%CE%AC%CF%84%CE%BF%CF%85-Truth-in-History.pdf

I have made some minor changes in the form of the text of Pr. Marinatos, in order to make it more easily readable on tumblr.

Nanno Ourania Marinatos, PhD, Professor Emerita, Classics and Mediterranean Studies, University of Illinois, Chicago (https://en.wikipedia.org/wiki/Nanno_Marinatos )

Dimitris Kyrtatas, University of Thessaly, Greece, Department of History, Archaeology, and Social Anthropology,  Emeritus

[lunamagicablu]

L'entusiastica Fantasia ha sempre marinato la scuola. William Hazlitt art by_ime_photography_ ***************** The enthusiastic Fantasia has always skipped school. William Hazlitt art by_ime_photography_

[no-white-dress]

Winx comic artists masterpost

Here are the credits listed in each issue in my collection.

I will not be including the titles as I'm not familiar with their English translations and I don't want to cause any confusion.

"Pixies Tales" is the name of short comics featuring the Pixies as main characters, before the Pixie Mag was born.

Issue 10

Script by: Giorgio Pezzin

Pencils: Matteo Giachi

Ink and color: Studio Meditars

Cover: Michele Lilli, Francesco Morici, Tania Boccalini

Issue 19

Script by: Rainbow/Manuela Marinato

Pencils: Maria Abagnale, Gianluca Cerritelli, Pierdomenico Sirianni, Giuseppe Manunta

Ink: Barbara Apostolico, Alessandro Battan

Color: Pamela Brughera, Michele Bizzi, Carlo Sandri

Cover: Barbara Graziani (lineart), Pamela Brughera (coloring)

Issue 21 (courtesy of @/evdizav)

Script by: Rainbow/Manuela Marinato

Pencils: Laura Carboni

Ink: Barbara Apostolico, Adriana Farina, Arianna Florean

Color: Pamela Brughera, Michele Bizzi, Carlo Sandri

Cover: Barbara Graziani (lineart), Pamela Brughera (coloring)

Issue 22

Script by: Rainbow/Manuela Marinato

Pencils: Adriana Farina

Ink: Alessandro Battan, Arianna Florean

Color: Antonella Cossu

Cover: Angela Mazzoni (lineart), Pamela Brughera (coloring)

- Pixies Tales -

Script by: Laura Scarpa

Pencils: Maria Abagnale

Ink: Arianna Florean

Color: Antonella Cossu

Issue 26

Script by: Rainbow/Manuela Marinato

Pencils: Adriana Farina, Federico Panella, Maria Abagnale, Pierdomenico Sirianni

Ink: Alessandro Battan, Arianna Florean

Color: Michele Bizzi, Tommaso Renieri, Serena Paccagnini, Carlo Sandri

Cover: Angela Mazzoni (lineart), Tommaso Renieri (coloring)

- Pixies Tales -

Script by: Laura Scarpa

Pencils: Maria Abagnale

Ink: Arianna Florean

Color: Antonella Cossu

Issue 27

Script by: Rainbow/Manuela Marinato

Pencils: Laura Carboni

Ink: Alessandro Battan, Arianna Florean

Color: Michele Bizzi, Tommaso Renieri, Serena Paccagnini, Carlo Sandri

Cover: Angela Mazzoni (lineart), Tommaso Renieri (coloring)

- Pixies Tales -

Script by: Laura Scarpa

Pencils: Maria Abagnale

Ink: Arianna Florean

Color: Antonella Cossu

Issue 28

Script by: Rainbow/Manuela Marinato

Pencils: Pierdomenico Sirianni, Federico Panella

Ink: Alessandro Battan, Arianna Florean

Color: Michele Bizzi, Tommaso Renieri, Carlo Sandri

Cover: Angela Mazzoni (lineart), Tommaso Renieri (coloring)

- Pixies Tales -

Script by: Laura Scarpa

Pencils: Maria Abagnale

Ink: Barbara Di Muzio

Color: Antonella Cossu

Issue 29

Script by: Rainbow/Manuela Marinato

Pencils: Adriana Farina, Pierdomenico Sirianni, Maria Abagnale

Ink: Alessandro Battan, Arianna Florean

Color: Michele Bizzi, Tommaso Renieri, Carlo Sandri

Cover: Angela Mazzoni (lineart), Tommaso Renieri (coloring)

- Pixies Tales -

Script by: Daniele Magrelli

Pencils: Maria Abagnale

Ink: Alessandro Battan

Color: Antonella Cossu

Issue 30

Script by: Rainbow/Manuela Marinato

Pencils: Laura Carboni, Pierdomenico Sirianni, Maria Abagnale

Ink: Alessandro Battan, Arianna Florean

Color: Michele Bizzi, Tommaso Renieri, Carlo Sandri

Cover: Angela Mazzoni (lineart), Tommaso Renieri (coloring)

- Pixies Tales -

Script by: Laura Scarpa

Pencils: Maria Abagnale

Ink: Alessandro Battan

Color: Antonella Cossu

Issue 31

Script by: Rainbow/Manuela Marinato

Pencils: Laura Carboni, Adriana Farina, Pierdomenico Sirianni, Maria Abagnale

Ink: Alessandro Battan, Arianna Florean

Color: Michele Bizzi, Tommaso Renieri, Carlo Sandri

Cover: Angela Mazzoni (lineart), Tommaso Renieri (coloring)

- Pixies Tales -

Script by: Laura Scarpa

Pencils: Maria Abagnale

Ink: Alessandro Battan

Color: Antonella Cossu

Issue 32

Script by: Rainbow/Manuela Marinato

Pencils: Felix Saborido

Ink: Alessandro Battan, Arianna Florean

Color: Michele Bizzi, Tommaso Renieri, Carlo Sandri

Cover: Angela Mazzoni (lineart), Tommaso Renieri (coloring)

- Pixies Tales -

Script by: Laura Scarpa

Pencils: Maria Abagnale

Ink: Arianna Florean

Color: Antonella Cossu

Issue 33

Script by: Rainbow/Manuela Marinato

Pencils: Adriana Farina, Pierdomenico Sirianni

Ink: Alessandro Battan, Arianna Florean

Color: Michele Bizzi, Tommaso Renieri, Carlo Sandri, Fabio Piacentini

Cover: Angela Mazzoni (lineart), Tommaso Renieri (coloring)

- Pixies Tales -

Script by: Laura Scarpa

Pencils: Maria Abagnale

Ink: Alessandro Battan

Color: Antonella Cossu

Issue 34

Script by: Rainbow/Manuela Marinato

Pencils: Felix Saborido, Arianna Rea

Ink: Alessandro Battan, Arianna Florean

Color: Michele Bizzi, Tommaso Renieri, Carlo Sandri, Fabio Piacentini

Cover: Angela Mazzoni (lineart), Tommaso Renieri (coloring)

- Pixies Tales -

Script by: Laura Scarpa

Pencils: Maria Abagnale

Ink: Matilde Scargiali

Color: Antonella Cossu

Issue 35

Script by: Rainbow/Manuela Marinato

Pencils: Adriana Farina, Pierdomenico Sirianni, Maria Abagnale

Ink: Alessandro Battan, Arianna Florean

Color: Michele Bizzi, Carlo Sandri,Tommaso Renieri, Fabio Piacentini

Cover: Angela Mazzoni (lineart), Tommaso Renieri (coloring)

- Pixies Tales -

Script by: Tommaso Renieri

Pencils: Tommaso Renieri

Ink: Tommaso Renieri

Color: Tommaso Renieri

What happened that month that he had to do it all on his own? Was everyone on leave? Did half the office come down with the flu? Sorry this is funny to me, just WHAT happened here?

Issue 36

Script by: Rainbow/Manuela Marinato

Pencils: Anna Baldoso, Pierdomenico Sirianni, Arianna Rea

Ink: Alessandro Battan, Arianna Florean

Color: Michele Bizzi, Carlo Sandri, Tommaso Renieri, Fabio Piacentini

Cover: Angela Mazzoni (lineart), Tommaso Renieri (coloring)

- Pixies Tales -

Script by: Laura Scarpa

Pencils: Maria Abagnale

Ink: Alessandro Battan

Color: Antonella Cossu

Issue 37

Script by: Rainbow/Manuela Marinato

Pencils: Felix Saborido

Ink: Alessandro Battan, Arianna Florean

Color: Michele Bizzi, Carlo Sandri, Tommaso Renieri, Fabio Piacentini

Cover: Tommaso Renieri

- Pixies Tales -

Script by: Laura Scarpa

Pencils: Maria Abagnale

Ink: Arianna Florean

Color: Fabio Piacentini

Issue 38

Script by: Rainbow/Manuela Marinato

Pencils: Adriana Farina, Pierdomenico Sirianni

Ink: Alessandro Battan, Arianna Florean

Color: Michele Bizzi, Carlo Sandri, Tommaso Renieri, Fabio Piacentini

Cover: Tommaso Renieri

- Pixies Tales -

Script by: Laura Scarpa

Pencils: Maria Abagnale

Ink: Arianna Florean

Color: Barbara Bargiggia

Issue 39

Script by: Rainbow/Manuela Marinato

Pencils: Anna Baldoso, Matteo Giachi

Ink: Alessandro Battan, Arianna Florean

Color: Michele Bizzi, Carlo Sandri, Tommaso Renieri, Fabio Piacentini

Cover: Laura Scarpa

- Pixies Tales -

Script by: Laura Scarpa

Pencils: Maria Abagnale

Ink: Arianna Florean

Color: Martina Cecilia

Issue 40

Script by: Rainbow/Manuela Marinato

Pencils: Felix Saborido

Ink: Alessandro Battan, Arianna Florean

Color: Michele Bizzi, Carlo Sandri, Tommaso Renieri, Fabio Piacentini

Cover: Tommaso Renieri

- Pixies Tales -

Script by: Laura Scarpa

Pencils: Maria Abagnale

Ink: Arianna Florean

Color: Martina Cecilia

Issue 41

Script by: Rainbow/Manuela Marinato

Pencils: Adriana Farina

Ink: Alessandro Battan, Arianna Florean

Color: Michele Bizzi, Carlo Sandri, Giovanna Niro, Fabio Piacentini

Cover: Tommaso Renieri

Issue 42

Script by: Rainbow/Manuela Marinato

Pencils: Lucia Balletti

Ink: Alessandro Battan, Arianna Florean

Inside cover: Pierdomenico Sirianni, Alessandro Battan, Fabio Piacentini

Color: Michele Bizzi, Carlo Sandri, Giovanna Niro, Fabio Piacentini

Cover: Angela Mazzoni (lineart), Tommaso Renieri (ink and coloring)

Issue 43

Script by: Rainbow/Manuela Marinato

Pencils: Pierdomenico Sirianni

Ink: Alessandro Battan

Inside cover: Pierdomenico Sirianni, Alessandro Battan, Fabio Piacentini

Color: Michele Bizzi, Carlo Sandri

Cover: Angela Mazzoni (lineart), Tommaso Renieri (ink and coloring)

From here until issue 59 they just stop listing who did the outside cover, for some reason. At first I thought it was because issues 44, 45 and 46 have Secret of the Lost Kingdom models as covers, but that wasn’t the case.

Issue 44

Script by: Rainbow/Manuela Marinato

Pencils: Matteo Giachi

Ink: Alessandro Battan, Arianna Florean

Inside cover: Adriana Farina (pencils and ink), Fabio Piacentini (coloring)

Color: Michele Bizzi, Carlo Sandri, Fabio Piacentini, Martina Cecilia

Issue 45

Script by: Rainbow/Manuela Marinato

Pencils: Félix Saborido

Ink: Alessandro Battan, Arianna Florean

Inside cover: Pierdomenico Sirianni (pencils), Adriana Farina (ink), Fabio Piacentini (coloring)

Color: Michele Bizzi, Carlo Sandri, Fabio Piacentini, Giovanna Niro

Issue 46

Script by: Rainbow/Manuela Marinato

Pencils: Adriana Farina

Ink: Alessandro Battan

Inside cover: Adriana Farina (pencils and ink), Fabio Piacentini (coloring)

Color: Michele Bizzi, Carlo Sandri, Fabio Piacentini, Giovanna Niro

Issue 47

Script by: Rainbow/Manuela Marinato

Pencils: Lucia Balletti

Ink: Arianna Florean

Inside cover: Adriana Farina (pencils and ink), Fabio Piacentini (coloring)

Color: Michele Bizzi, Carlo Sandri, Fabio Piacentini, Giovanna Niro

Issue 48

Script by: Rainbow/Manuela Marinato

Pencils: Matteo Giachi

Ink: Alessandro Battan

Inside cover: Adriana Farina (pencils and ink), Fabio Piacentini (coloring)

Color: Michele Bizzi, Carlo Sandri, Fabio Piacentini, Giovanna Niro

Issue 49

Script by: Rainbow/Manuela Marinato

Pencils: Pierdomenico Sirianni

Ink: Arianna Florean

Inside cover: Pierdomenico Sirianni (pencils), Alessandro Battan (ink), Fabio Piacentini (coloring)

Color: Michele Bizzi, Carlo Sandri, Fabio Piacentini, Giovanna Niro

Issue 50

Script by: Rainbow/Manuela Marinato

Pencils: Félix Saborido

Ink: Alessandro Battan, Arianna Florean

Inside cover: Pierdomenico Sirianni (pencils), Alessandro Battan (ink), Fabio Piacentini (coloring)

Color: Michele Bizzi, Carlo Sandri, Fabio Piacentini

Issue 51

Script by: Rainbow/Manuela Marinato

Pencils: Adriana Farina

Ink: Alessandro Battan

Inside cover: Adriana Farina (pencils and ink), Fabio Piacentini (coloring)

Color: Michele Bizzi, Carlo Sandri, Fabio Piacentini

Issue 52

Script by: Rainbow/Manuela Marinato Pezzin

Pencils: Lucia Balletti

Ink: Arianna Florean

Inside cover: Adriana Farina (pencils and ink), Fabio Piacentini (coloring)

Color: Michele Bizzi, Carlo Sandri, Fabio Piacentini

Issue 53

Script by: Rainbow/Manuela Marinato Pezzin

Pencils: Matteo Giachi, Adriana Farina

Ink: Alessandro Battan, Arianna Florean, Adriana Farina

Inside cover: Adriana Farina (pencils and ink), Tommaso Renieri (coloring)

Color: Fabio Piacentini, Michele Bizzi, Carlo Sandri

Issue 54

Script by: Rainbow/Manuela Marinato Pezzin

Pencils: Félix Saborido

Ink: Alessandro Battan, Arianna Florean

Inside cover: Adriana Farina (pencils and ink), Fabio Piacentini (coloring)

Color: Fabio Piacentini, Michele Bizzi, Carlo Sandri

Issue 55

Script by: Rainbow/Manuela Marinato Pezzin

Pencils: Pierdomenico Sirianni

Ink: Arianna Florean, Alessandro Battan

Inside cover: Pierdomenico Sirianni (pencils), Alessandro Battan (ink), Fabio Piacentini (coloring)

Color: Fabio Piacentini, Michele Bizzi, Carlo Sandri

Issue 56

Script by: Rainbow/Manuela Marinato Pezzin

Pencils: Lucia Balletti

Ink: Arianna Florean

Inside cover: Arianna Florean (pencils and ink), Federico Fieni (coloring)

Color: Michele Bizzi, Carlo Sandri

Issue 57

Script by: Rainbow/Manuela Marinato Pezzin

Pencils: Félix Saborido

Ink: Alessandro Battan, Arianna Florean

Inside cover: Adriana Farina (pencils and ink), Fabio Piacentini (coloring)

Color: Fabio Piacentini

Issue 58

Script by: Rainbow/Manuela Marinato Pezzin

Pencils: Adriana Farina

Ink: Alessandro Battan

Inside cover: Adriana Farina (pencils and ink), Fabio Piacentini (coloring)

Color: Michele Bizzi, Carlo Sandri

Issue 59

Script by: Rainbow/Manuela Marinato Pezzin

Pencils: Lucia Balletti

Ink: Arianna Florean

Inside cover: Pierdomenico Sirianni (pencils), Arianna Florean (ink), Fabio Piacentini (coloring)

Color: Fabio Piacentini

Outside cover: Laura Scarpa (pencils), Tommaso Renieri (ink, coloring)

Issue 60

Script by: Rainbow/Manuela Marinato Pezzin

Pencils: Pierdomenico Sirianni

Ink: Alessandro Battan

Color: Michele Bizzi, Carlo Sandri

Inside cover: Pierdomenico Sirianni (pencils), Alessandro Battan (ink), Michele Bizzi and Carlo Sandri (coloring)

Outside cover: Laura Scarpa (pencils), Tommaso Renieri (ink, coloring)

Issue 61

Script by: Rainbow/Manuela Marinato Pezzin

Pencils: Félix Saborido

Ink: Alessandro Battan, Arianna Florean

Color: Fabio Piacentini

Inside cover: Pierdomenico Sirianni (pencils), Alessandro Battan (ink), Fabio Piacentini (coloring)

Outside cover: Laura Scarpa (pencils), Tommaso Renieri (ink, coloring)

Issue 62

Script by: Rainbow/Manuela Marinato Pezzin

Pencils: Lucia Balletti

Ink: Arianna Florean

Color: Michele Bizzi, Carlo Sandri

Inside cover: Pierdomenico Sirianni (pencils), Alessandro Battan (ink), Michele Bizzi and Carlo Sandri (coloring)

Outside cover: Laura Scarpa (pencils), Tommaso Renieri (ink, coloring)

Issue 63

Script by: Rainbow/Manuela Marinato Pezzin

Pencils: Luca Bonessi

Ink: Mauro Masi, Fabio Piacentini, Alessandro Battan

Color: Fabio Piacentini

Inside cover: Pierdomenico Sirianni (pencils), Arianna Florean (ink), Fabio Piacentini (coloring)

Outside cover: Laura Scarpa (pencils), Tommaso Renieri (ink, coloring)

Issue 64

Script by: Rainbow/Manuela Marinato Pezzin

Pencils: Félix Saborido

Ink: Alessandro Battan

Color: Michele Bizzi, Carlo Sandri

Inside cover: Pierdomenico Sirianni (pencils), Arianna Florean (ink), Michele Bizzi and Carlo Sandri (coloring)

Outside cover: Laura Scarpa (pencils), Tommaso Renieri (ink, coloring)

Issue 65

Script by: Rainbow/Manuela Marinato Pezzin

Pencils: Lucia Balletti

Ink: Arianna Florean

Color: Fabio Piacentini

Inside cover: Arianna Florean (pencils and ink), Fabio Piacentini (coloring)

Outside cover: Laura Scarpa (pencils), Luciano Ruben (ink, coloring)

Issue 66

Script by: Rainbow/Manuela Marinato Pezzin

Pencils: Pierdomenico Sirianni

Ink: Alessandro Battan

Color: Michele Bizzi, Carlo Sandri

Inside cover: Pierdomenico Sirianni (pencils), Alessandro Battan (ink), Michele Bizzi and Carlo Sandri (coloring)

Outside cover: Luciano Ruben (pencils and ink), Federico Fieni (coloring)

Issue 67

Script by: Rainbow/Manuela Marinato Pezzin

Pencils: Félix Saborido

Ink: Alessandro Battan

Color: Fabio Piacentini

Inside cover: Arianna Florean (pencils and ink), Fabio Piacentini (coloring)

Outside cover: Luciano Ruben (pencils and ink), Federico Fieni (coloring)

Issue 68

Script by: Rainbow/Manuela Marinato Pezzin

Pencils: Lucia Balletti

Ink: Arianna Florean

Color: Michele Bizzi, Carlo Sandri

Inside cover: Pierdomenico Sirianni (pencils), Alessandro Battan (ink), Fabio Piacentini (coloring)

Outside cover: Luciano Ruben (pencils and ink), Federico Fieni (coloring)

Issue 69

Script by: Rainbow/Manuela Marinato Pezzin

Pencils: Luca Bonessi

Ink: Arianna Florean, Alessandro Battan

Color: Fabio Piacentini, Michele Bizzi, Carlo Sandri

Inside cover: Pierdomenico Sirianni (pencils), Alessandro Battan (ink), Fabio Piacentini (coloring)

Outside cover: Luciano Ruben (pencils and ink), Federico Fieni (coloring)

Issue 70

Script by: Rainbow/Manuela Marinato Pezzin

Pencils: Rosa La Barbera

Ink: Arianna Florean, Alessandro Battan

Color: Fabio Piacentini, Michele Bizzi, Carlo Sandri

Inside cover: Pierdomenico Sirianni (pencils), Alessandro Battan (ink), Fabio Piacentini (coloring)

Outside cover: Luciano Ruben (pencils and ink), Federico Fieni (coloring)

Issue 71

Script by: Rainbow/Manuela Marinato Pezzin

Pencils: Félix Saborido

Ink: Alessandro Battan

Color: Fabio Piacentini, Michele Bizzi, Carlo Sandri

Inside cover: Arianna Florean (pencils and ink), Fabio Piacentini (coloring)

Outside cover: Luciano Ruben (pencils and ink), Federico Fieni (coloring)

Issue 72

Script by: Rainbow/Manuela Marinato Pezzin

Pencils: Lucia Balletti

Ink: Arianna Florean, Doris Messina, Alessandro Battan, Luca Cicchitto

Color: Michele Bizzi, Carlo Sandri, Fabio Piacentini

Inside cover: Rosa La Barbera (pencils), Arianna Florean (ink), Carlo Sandri (coloring)

Outside cover: Luciano Ruben (pencils and ink), Federico Fieni (coloring)

Issue 73

Script by: Rainbow/Manuela Marinato Pezzin

Pencils: Pierdomenico Sirianni

Ink: Alessandro Battan

Color: Fabio Piacentini, Michele Bizzi, Carlo Sandri

Inside cover: Pierdomenico Sirianni (pencils), Alessandro Battan (ink), Michele Bizzi and Carlo Sandri (coloring)

Outside cover: Luciano Ruben (pencils), Federico Fieni (coloring)

Issue 74

Script by: Rainbow/Manuela Marinato Pezzin

Pencils: Rosa La Barbera, Lucia Balletti

Ink: Arianna Florean, Luca Cicchitti, Raffaella Seccia, Paolo Ferrante

Color: Michele Bizzi, Carlo Sandri

Inside cover: Rosa La Barbera (pencils), Paolo Ferrante (ink), Michele Bizzi and Carlo Sandri (coloring)

Outside cover: Luciano Ruben (pencils), Federico Fieni (coloring)

Issue 75

Script by: Rainbow/Manuela Marinato Pezzin

Pencils: Luca Bonessi, Pierdomenico Sirianni

Ink: Alessandro Battan, Luca Cicchitti

Color: Fabio Piacentini

Inside cover: Pierdomenico Sirianni (pencils), Alessandro Battan (ink), Fabio Piacentini (coloring)

Outside cover: Luciano Ruben (pencils), Federico Fieni (coloring)

Issue 76

Script by: Rainbow/Manuela Marinato Pezzin

Pencils: Félix Saborido

Ink: Alessandro Battan, Paolo Ferrante

Color: Michele Bizzi, Carlo Sandri

Inside cover: Pierdomenico Sirianni (pencils), Alessandro Battan (ink), Michele Bizzi and Carlo Sandri (coloring)

Outside cover: Luciano Ruben (pencils), Federico Fieni (coloring)

Issue 77

Script by: Rainbow/Manuela Marinato Pezzin

Pencils: Lucia Balletti

Ink: Alessandro Battan, Paolo Ferrante, Luca Cicchitti, Raffaella Seccia, Maria Abagnale

Color: Fabio Piacentini, Licia Bordi

Inside cover: Pierdomenico Sirianni (pencils), Maria Abagnale (ink), Fabio Piacentini (coloring)

Outside cover: Luciano Ruben (pencils), Federico Fieni (coloring)

Issue 78

Script by: Rainbow/Manuela Marinato Pezzin

Pencils: Rosa La Barbera, Pierdomenico Sirianni, Lucia Balletti

Ink: Alessandro Battan, Paolo Ferrante, Luca Cicchitti, Raffaella Seccia, Maria Abagnale

Color: Michele Bizzi, Carlo Sandri

Inside cover: Pierdomenico Sirianni (pencils), Maria Abagnale (ink), Fabio Piacentini (coloring)

Outside cover: Tridimensional s.r.l, Pamela Guadagnini

Issue 79

Script by: Rainbow/Manuela Marinato Pezzin

Pencils: Félix Saborido

Ink: Alessandro Battan, Maria Abagnale

Color: Fabio Piacentini, Michele Bizzi, Carlo Sandri

Inside cover: Pierdomenico Sirianni (pencils), Alessandro Battan (ink), Michele Bizzi and Carlo Sandri (coloring)

Outside cover: Tridimensional s.r.l., Pamela Guadagnini

Issue 80

Script by: Rainbow/Manuela Marinato Pezzin

Pencils: Lucia Balletti

Ink: Alessandro Battan, Paolo Ferrante, Luca Cicchitti, Maria Abagnale, Raffaella Seccia

Color: Michele Bizzi, Carlo Sandri

Inside cover: Pierdomenico Sirianni (pencils), Alessandro Battan (ink), Michele Bizzi and Carlo Sandri (coloring)

Outside cover: Tridimensional s.r.l, Pamela Guadagnini

Issue 81

Script by: Rainbow/Manuela Marinato Pezzin

Pencils: Luca Bonessi, Lucia Balletti

Ink: Alessandro Battan, Raffaella Seccia, Luca Cicchitti, Paolo Ferrante

Color: Fabio Piacentini, Michele Bizzi, Carlo Sandri

Inside cover: Pierdomenico Sirianni (pencils), Alessandro Battan (ink), Fabio Piacentini (coloring)

Outside cover: Luciano Ruben (pencils and ink), Federico Fieni (coloring)

Issue 82

Script by: Rainbow/Manuela Marinato Pezzin

Pencils: Félix Saborido

Ink: Alessandro Battan, Paolo Ferrante, Raffaella Seccia

Color: Michele Bizzi, Carlo Sandri

Inside cover: Maria Abagnale (pencils and ink), Michele Bizzi and Carlo Sandri (coloring)

Outside cover: Luciano Ruben (pencils and ink), Federico Fieni (coloring)

Issue 83

Script by: Rainbow/Manuela Marinato Pezzin

Script support: Maurizio De Angelis, Valentina Cambi

Pencils: Maria Abagnale

Ink: Alessandro Battan, Raffaella Seccia

Color: Fabio Piacentini, Licia Bordi

Inside cover: Pierdomenico Sirianni (pencils), Alessandro Battan (ink), Fabio Piacentini (coloring)

Outside cover: Luciano Ruben (pencils and ink), Federico Fieni (coloring)

Issue 84

Script by: Rainbow/Manuela Marinato Pezzin

Script support: Maurizio De Angelis, Valentina Cambi

Pencils: Lucia Balletti

Ink: Alessandro Battan, Raffaella Seccia

Color: Michele Bizzi, Carlo Sandri

Inside cover: Pierdomenico Sirianni (pencils), Alessandro Battan (ink), Michele Bizzi and Carlo Sandri (coloring)

Outside cover: Luciano Ruben (pencils and ink), Federico Fieni (coloring)

Issue 85

Script by: Rainbow/Manuela Marinato Pezzin

Script support: Maurizio De Angelis, Valentina Cambi

Pencils: Luca Bonessi

Ink: Alessandro Battan, Raffaella Seccia

Color: Fabio Piacentini, Licia Bordi, Michele Bizzi, Carlo Sandri

Inside cover: Pierdomenico Sirianni (pencils), Alessandro Battan (ink), Fabio Piacentini and Licia Bordi (coloring)

Outside cover: Luciano Ruben (pencils and ink), Federico Fieni (coloring)

Issue 86

Script by: Rainbow/Manuela Marinato Pezzin

Script support: Maurizio De Angelis, Valentina Cambi

Pencils: Maria Abagnale

Ink: Alessandro Battan, Raffaella Seccia

Color: Michele Bizzi, Carlo Sandri

Inside cover: Pierdomenico Sirianni (pencils), Alessandro Battan (ink), Michele Bizzi and Carlo Sandri (coloring)

Outside cover: Luciano Ruben (pencils and ink), Federico Fieni (coloring)

Issue 87

Script by: Rainbow/Nicola Venanzetti

Script support: Maurizio De Angelis, Valentina Cambi

Pencils: Félix Saborido

Ink: Alessandro Battan, Raffaella Seccia

Color: Fabio Piacentini, Licia Bordi, Michele Bizzi, Carlo Sandri

Inside cover: Pierdomenico Sirianni (pencils), Alessandro Battan (ink), Michele Bizzi and Carlo Sandri (coloring)

Outside cover: Luciano Ruben (pencils and ink), Federico Fieni (coloring)

Issue 88

Script by: Rainbow/Nicola Venanzetti

Script support: Maurizio De Angelis, Valentina Cambi

Pencils: Lucia Balletti

Ink: Alessandro Battan, Raffaella Seccia

Color: Michele Bizzi, Carlo Sandri

Inside cover: Pierdomenico Sirianni (pencils), Alessandro Battan (ink), Michele Bizzi and Carlo Sandri (coloring)

Outside cover: Luciano Ruben (pencils and ink), Federico Fieni (coloring)

Issue 89

Script by: Rainbow/Nicola Venanzetti

Script support: Maurizio De Angelis, Valentina Cambi

Pencils: Maria Abagnale

Ink: Alessandro Battan, Raffaella Seccia

Color: Licia Bordi

Inside cover: Pierdomenico Sirianni (pencils), Alessandro Battan (ink), Licia Bordi (coloring)

Outside cover: Luciano Ruben (pencils and ink), Federico Fieni (coloring)

Issue 90

Script by: Rainbow/Nicola Venanzetti

Script support: Maurizio De Angelis, Valentina Cambi

Pencils: Luca Bonessi, Pierdomenico Sirianni, Lucia Balletti

Ink: Alessandro Battan

Color: Licia Bordi, Fabio Piacentini

Inside cover: Pierdomenico Sirianni (pencils), Alessandro Battan (ink), Licia Bordi (coloring)

Outside cover: Paolo Maria Frattesi (pencils and ink), Alice Rossi (coloring)

Issue 91

Script by: Rainbow/Maurizio De Angelis

Pencils and ink: Red Whale/Federico Franzò

Color: Red Whale/Giorgia Arena

Outside cover: Red Whale/Federico Franzò (pencils and ink), Red Whale/Giorgia Arena (coloring)

Issue 92

Script by: Rainbow/Maurizio De Angelis

Pencils and ink: Red Whale/Alessia Martusciello

Color: Red Whale/Alberto Pizzetti

Outside cover: Alessia Martusciello (pencils and ink), Alberto Pizzetti (coloring)

Issue 93

Script by: Rainbow/Nicola Venanzetti

Script supervision: Rainbow/Maurizio De Angelis

Pencils: Red Whale/Giorgio Pontrelli, Roberta Tedeschi

Ink: Red Whale/Michela Frare

Color: Red Whale/Edwyn Nori

Outside cover: Red Whale/Roberta Tedeschi (pencils), Red Whale/Michela Frare (ink), Red Whale/Edwyn Nori (coloring)

Issue 94

Script by: Rainbow/Alessandro Bilotta

Pencils: Pierdomenico Sirianni

Ink: Alessandro Battan

Color: Licia Bordi, Arianna Florean

Outside cover: Red Whale/Roberta Tedeschi (pencils), Red Whale/Sonia Matrone (ink), Red Whale/Edwyn Nori (coloring)

Issue 95

Script by: Rainbow/Nicola Venanzetti

Script support: Maurizio De Angelis

Pencils: Lucia Balletti

Ink: Alessandro Battan

Color: Arianna Florean, Azzurra Florean, Doris Messina, Eleonora Carlini

Outside cover: Roberta Tedeschi (pencils), Sonia Matrone (ink), Edwyn Nori (coloring)

Issue 96

Script by: Rainbow/Alessandro Bilotta

Script support: Maurizio De Angelis

Pencils: Félix Saborido

Ink: Alessandro Battan

Color: Arianna Florean, Azzurra Florean, Doris Messina, Eleonora Carlini

Outside cover: Roberta Tedeschi (pencils), Sonia Matrone (ink), Edwyn Nori (coloring)

Issue 97

Script by: Rainbow/Nicola Venanzetti

Script support: Maurizio De Angelis

Pencils: Lucia Balletti

Ink: Alessandro Battan

Color: Arianna Florean, Azzurra Florean, Doris Messina, Eleonora Carlini

Outside cover: Roberta Tedeschi (pencils), Michela Frare (ink), Edwyn Nori (coloring)

Issue 98

Script by: Rainbow/Vincenzo Perrone

Script support: Maurizio De Angelis

Pencils: Lucia Balletti, Pierdomenico Sirianni

Ink: Alessandro Battan

Color: Arianna Florean, Azzurra Florean, Doris Messina, Eleonora Carlini

Outside cover: Red Whale/Marcello DeMartino, Roberta Tedeschi (pencils), Red Whale/Sonia Matrone (ink), Red Whale/Alessandra Bracaglia (coloring)

Issue 99

Script by: Rainbow/Alessandro Bilotta

Script support: Fabrizio Vecchi

Pencils: Laura Carboni, Lucia Balletti

Ink: Alessandro Battan

Color: Arianna Florean, Azzurra Florean, Doris Messina, Eleonora Carlini

Outside cover: Red Whale/Rosa La Barbera (pencils and ink), Red Whale/Edwyn Nori (coloring)

Issue 100

Script by: Rainbow/Maurizio De Angelis

Pencils and ink: Red Whale/Marcello De Marino, Rosa La Barbera

Color: Red Whale/Edwyn Nori

Outside cover: Red Whale/Marcello De Marino, Rosa La Barbera (pencils and ink), Red Whale/Edwyn Nori (coloring)

[stranomavero-o]

Tokyo day 2

Un bel sandwich a colazione ti tiene in piedi fino all’una, da valutare per quando torno. Peccato mettano maionese al wasabi a tradimento ovunque…

Sono stata a un bellissimo tempio shintoista ad Harajuko e ho comprato un santino per “trovare un buon partner”, vediamo se funziona!

Ad Harajuko ho passato un’ora in questo centro commerciale con negozi incredibili, poi ho trovato quello con la roba più economica e ho fatto spese. Bellissimo che per entrare in camerino ti devi togliere le scarpe, che in effetti ha molto senso…

Poi stavo andando a un ristorante a caso trovato su Google e sono passata davanti a questo piccolo locale nemmeno segnato sulla mappa, pieno di locals e family run. Ovviamente mi sono fermata e sto mangiando un piatto con del salmone marinato spettacolare.

Pomeriggio provo un altro tempio magari hanno altri santini da comprare.

[ross-nekochan]

Che cosa sono tutte quelle portate invitantissime? 😍

Foto di sopra:

- yakitori (spiedini di varie parti del pollo tipo coscia, pelle, etc)

- cosciette di pollo grigliate e speziate

- ceci con cipolla e un po' di salsa

- colza fatta come se fossero broccoletti lol

- insalata di patata

Foto di sotto:

- onigiri di riso rosso con fagioli rossi (non gli azuki)

- sempre colza

- きんぴりごぼう (kinpiri gobō) - il gobō è tipo un bastone lungo che è un tubero ed è preparato con carote e konjac

- petto di pollo marinato nel kōji (che è una pasta di riso fermentato) e penso condito con le solite cose (ovvero salsa di soia, mirin e sake)

- daikon (altra verdura asiatica tipo carotone gigante bianco) con tofu fritto e chikuwa (fatto con pasta di pesce simile al naruto) fatto bollire nel dashi e soia, mirin, sake

Se qualcosa non è chiaro... mi spiace perché meglio di così nun se pò. LOL