#mediterranean males

[ganymedia-guys]

Threesome

is a state of mind…

[artthatgivesmefeelings]

José Maria Veloso Salgado (Spanish, 1864-1945) Amor e Psyche, 1891 Museu Nacional de Arte Contemporânea – Museu do Chiado, Lisboa

[etherealarte]

[specs-tacularmen]

So many guys come up from behind... I know they wanna touch me.

It’s a good thing they don’t cuz the ones that do end up dropping dead from the sheer energy...

൨൩।൧൨।൧൯

[analogmartt]

Working on silver gelatin prints of Giovanni in Manarola, Italy - shot last summer on Ilford FP4+

[yantyushevphoto]

Daniel

Mediterranean sea, Jan 2022

Instagram | Behance | Book

[wildmediterraneanman]

[casiavium]

Latin translators are not allowed to translate the numerous queer slurs against men who were "passive" in sex as fag anymore. they must be denoted as "bottom (footnote) derogatory"

[artthatgivesmefeelings]

Gian Lorenzo Bernini (Italian, 1598-1680) Apollon and Daphne, Marble, 1622-25 Galerie Borghese, Rome

[ssscasanova]

View this post on Instagram

A post shared by 𝑺𝑺𝑺𝑰𝑴𝑶𝑵𝑬 𝑪𝑨𝑺𝑨𝑵𝑶𝑽𝑨 ❦ (@ssscasanova)

[yantyushevphoto]

Hugo.

Mediterranean sea, Dec 2022

Instagram | Behance | Book

[blueiscoool]

A photo of the body casts of two adults and two children who died in what's now called the house of the golden bracelet in Pompeii. A new DNA analysis shows that these four people are not genetically related to one another. (Image credit: Archeological Park of Pompeii).

DNA Analysis Rewrites The Stories of People Buried in Pompeii

An ancient-DNA analysis of victims in Pompeii who died in Mount Vesuvius' eruption reveals some unusual relations between the people who died together.

Ancient DNA taken from the Pompeii victims of Mount Vesuvius' eruption nearly 2,000 years ago reveals that some people's relationships were not what they seemed, according to a new study.

For instance, an adult who was wearing a golden bracelet and holding a child on their lap was long thought to be a mother with her child. But the new DNA analysis revealed that, in reality, the duo were "an unrelated adult male and child," study co-author David Reich, a professor of genetics at Harvard Medical School, said in a statement.

In another example, a couple who died in an embrace and were "thought to be sisters, or mother and daughter, were found to include at least one genetic male," Reich said. "These findings challenge traditional gender and familial assumptions."

In the study, published Thursday (Nov. 7) in the journal Current Biology, Reich and an international team of researchers looked at the genetics of five individuals who died during the A.D. 79 eruption that killed around 2,000 people.

When Mount Vesuvius erupted, it covered the surrounding area in a deadly layer of volcanic ash, pumice and pyroclastic flow, burying people alive and preserving the shapes of many bodies beneath the calcified layers of ash. The remains of the city were rediscovered only in the 1700s. In the following century, archaeologist Giuseppe Fiorelli perfected his plaster technique, in which he filled in the human-shaped holes left after the bodies had decomposed to create casts of the victims.

The casts of two people who died about 2,000 years ago in the house of the cryptoporticus in Pompeii. A new DNA analysis found that one individual was biologically male, but the sex of the other could not be determined. (Image credit: Archeological Park of Pompeii).

The casts allowed scholars to study the victims in their last moments and make hypotheses about their identities based on details such as their locations, positions and apparel. The problem with this approach, however, was that their interpretations were influenced by modern-day assumptions — for instance, that the four people at the house with the golden bracelet, which included the adult holding the child, were two parents with their children, when in reality none of them were genetically related, the researchers wrote in the study.

For their research, the team analyzed 14 casts and extracted DNA from fragmented skeletal remains in five of them. By analyzing this genetic material, the scientists determined the individuals' genetic relationships, sex and ancestry. The team concluded that the victims had a "diverse genomic background," primarily descending from recent eastern Mediterranean immigrants, per the statement, confirming the Roman Empire's multiethnic reality.

The cast of a person who died in the villa of the mysteries in Pompeii in A.D. 79. (Image credit: Archeological Park of Pompeii).

Our findings have significant implications for the interpretation of archaeological data and the understanding of ancient societies," study co-author Alissa Mittnik, an archaeogeneticist at Harvard Medical School and the Max Planck Institute for Evolutionary Anthropology in Germany, said in the statement. "They highlight the importance of integrating genetic data with archaeological and historical information to avoid misinterpretations based on modern assumptions."

It's possible that past misconceptions led to the "exploitation of the casts as vehicles for storytelling," meaning that curators may have manipulated the victims' "poses and relative positioning" for exhibits, the team wrote in the study.

Sex misassignment is "not uncommon" in archaeology, Carles Lalueza-Fox, a biologist at the Institute of Evolutionary Biology (CSIC-UPF) in Barcelona who specializes in the study of ancient DNA but was not involved with the study, said in an email.

"Of course we look at the past with the cultural eyes of the present and this view is sometimes distorted; for me the discovery of a man with a golden bracelet trying to save an unrelated child is more interesting and culturally complex than assuming it was a mother and her child," Lalueza-Fox said.

By Margherita Bassi.

[herpsandbirds]

Mediterranean Tree Frog (𝐻𝑦𝑙𝑎 𝑚𝑒𝑟𝑖𝑑𝑖𝑜𝑛𝑎𝑙𝑖𝑠), male, family Hylidae, southern France

photograph by Raphaël Grellety

[phallic-thighs]

“So many guys are trying to clone me these days, but I’ve decided to charge for fingernail clippings… You’d be surprised how you can make a living that way.”

“....Or maybe you wouldn’t.”

၂၄/၀၁/၂၆

[ancientrome]

Marble sarcophagus with the Triumph of Dionysos and the Seasons. Roman ca. 260–270 CE. x

This highly ornate and extremely well-preserved Roman marble sarcophagus came to the Metropolitan Museum from the collection of the Dukes of Beaufort and was formerly displayed in their country seat, Badminton House in Gloucestershire, England. An inscription on the unfinished back of the sarcophagus records that it was installed there in 1733. In contrast to the rough and unsightly back, the sides and front of the sarcophagus are decorated with forty human and animal figures carved in high relief. The central figure is that of the god Dionysos seated on a panther, but he is somewhat overshadowed by four larger standing figures who represent the four Seasons (from left to right, Winter, Spring, Summer, and Fall). The figures are unusual in that the Seasons are usually portrayed as women, but here they are shown as sturdy youths. Around these five central figures are placed other Bacchic figures and cultic objects, all carved at a smaller scale. On the rounded ends of the sarcophagus are two other groups of large figures, similarly intermingled with lesser ones. On the left end, Mother Earth is portrayed reclining on the ground; she is accompanied by a satyr and a youth carrying fruit. On the right end, a bearded male figure, probably to be identified with the personification of a river-god, reclines in front of two winged youths, perhaps representing two additional Seasons.

The sarcophagus is an exquisite example of Roman funerary art, displaying all the virtuosity of the workshop where it was carved. The marble comes from a quarry in the eastern Mediterranean and was probably shipped to Rome, where it was worked. Only a very wealthy and powerful person would have been able to commission and purchase such a sarcophagus, and it was probably made for a member of one of the old aristocratic families in Rome itself. The subjects - the triumph of Dionysos and the Seasons - are unlikely, however, to have had any special significance for the deceased, particularly as it is clear that the design was copied from a sculptor's pattern book. Another sarcophagus, now in the Hessisches Landesmuseum in Kassel, Germany, has the same composition of Dionysos flanked by the four Seasons, although the treatment and carving of the figures is quite different. On the Badminton sarcophagus the figures are carved in high relief and so endow the crowded scene with multiple areas of light and shade, allowing the eye to wander effortlessly from one figure to another. One must also imagine that certain details were highlighted with color and even gilding, making the whole composition a visual tour de force.

Very few Roman sarcophagi of this quality have survived. Although the Badminton sarcophagus lacks its lid, the fact that it was found in the early eighteenth century and soon thereafter installed in Badminton Hall means that it has been preserved almost intact and only a few of the minor extremities are now missing.

[artthatgivesmefeelings]

Gustave Courbet (French, 1819-1877) Self-portrait (Man with Leather Belt), ca.1845-46 Musée d'Orsay