The History of Storytelling

Telling a story is a very definitive art of making people interested and convinced about your point of view. We see a very good example of this capability of storytelling in Biblical accounts as well as other religious scriptures. Generally, stories are very appealing to the younger audience. This is the reason that many children books such as 'Jesus for children' and 'Jesus in me' are a part of church resources. These books are narrative compilations of Biblical accounts written in the form of children's stories.

Storytelling can be regarded as a very creative way of communication. The basic concept behind a story is to convey an idea, a thought, knowledge or a message in a more engaging way. The stories usually carry certain powerful aesthetics that may allure an audience to imagine themselves as a part or character of the story.

Although, people regard storytelling as human's innate capability or instinct, some people consider it a result of human's natural desire of being appreciated or complimented on their achievements. The latter definition of storytelling as a desire secondary to human nature is proven quite true because the earliest accounts of storytelling were based on fact rather than fiction. However, this statement still does not completely define storytelling, as we have seen it evolve immensely throughout the history, and so did the motives and desires behind it.

Strangely enough, the very first example of man's use of creativity and imagination as a form of communication comes from the primitive era of around 35,000 years ago. The astonishing discovery of Aboriginal cave paintings revealed an interesting narrative of a hunt in the form of visual slideshow. This was perhaps man's first endeavor to show off his power and glory. Numerous accounts of such factual events in the form of paintings and carvings are found dating back to the primitive world.

Later on, as civilizations began to develop we see a very strong connection between religions and stories. The stories became so influential that people actually started to regard the myths as Gods. In Egyptian civilization, while the hieroglyphs narrate the stories of bravery, greatness and immortality of the Pharaohs, they also give a very detailed account of Gods and the life after death. In ancient Rome, Greek, China and India the stories took a very fictional and magical forms and these myths eventually became the gods.

Despite being fictional, these stories were so influential because they were based on strong values and moralities and were more like a guide for human behaviors and ethics. It was during the same period when performing art became a major story telling medium. This tradition lived on and took a major global exposure in the times of Shakespeare, whose stories were also a criticism on the evils of society.

The Shakespeare style of storytelling is regarded as the base of modern story telling. The only difference is the media which traveled the distance through paintings, narrations, literature, theatre and than television. Movies are probably the most captivating medium of storytelling now, none of the older forms has died out yet. By this fact we can assume that come whatever may, stories are here to stay.

Connor R. Sullivan recently purchased several Christian books online to donate for use as church resources. He searched the term Jesus for children online to find resources to help his wife teach a Sunday school class.

Greek Mythology Tattoos

Are you just fascinated with Greek mythology and want to get the best Greek mythology tattoo that you can get your hands on? Finding a great Greek tattoo can take some work on your behalf to ensure the success of your tattoo. First you need to be sure of which mythological figure is your favorite.

Greek myths are know for their elaborate stories of dynamic gods and goddesses. Greek Mythology Tattoos are known for their incredible scenes that tell a story and can reflect your feelings for a particular character. The style of design that you choose can represent how that character connects to what you're feeling in your life.

Zeus is one of the most commonly tattooed gods. He was the Supreme Ruler, the god of the earth and skies. He's a very powerful figure that demands unique designs. You can show him quietly peering out of the clouds to keep an eye on things going down on Earth. Or you can jazz it up by portraying him in his fury with lightning bolts be thrust down upon the earthlings.

Aphrodite on the other hand is one of the most popular goddesses. She's the goddess of love and lust so you'll be showing everyone your most sensual side by designing a work with her as your central figure. She is most popularly displayed with an incredibly curvaceous figure rising out of the steaming sea. You could also tell the story of how she saved Paris by scooping him up in the mist and carrying him away to safety.

There are so many other fascinating stories and characters in the Greek history. Start your tattoo search by researching each character, setting, and story line before thinking about your tattoo design. Once you've narrowed down the design idea you can put together the actual tattoo. Research the stories, download some images, and even print out your own tattoo design before you go to the parlor. This is the best way to ensure that you get the most unique and special Greek mythology tattoo.

Did you know that more than 25% of people are disappointed in their tattoos? Don't let that happen to you with your Greek Mythology Tattoos. For more great Greek tattoo ideas and printable images visit http://www.squidoo.com/Greek-Tattoo.

Ancient Olympia - The Original Venue of the Olympic Games

Olympia is an ancient sanctuary in the prefecture of Elis Peloponnese. A magnificent archaeological site, the sanctuary has been inhabited since prehistoric times, and in the 10th century B.C, the area became a religious center for the worship of Zeus and Hera, the chief couple of the Olympian gods. The sanctuary was also the site of the Olympic Games held in honor of Zeus from the 8th century BC till the 3rd century AD, when the Byzantine Emperor Theodosius decided to stop them as a pagan practice.

The sacred region of Olympia enclosed a number of buildings arranged without any particular form or order. Within the sacred enclosure, are situated the temples dedicated to Zeus and Hera. Built around 450 BC, the temple of Zeus occupied the most important position among the local and pan-Hellenic deities. The statue of Zeus, a magnificent piece of art sculpted by the 5th century sculptor, painter and architect Phedias, used to stand to a height of 43 feet and this was the most impressive statue in the ancient world. Unfortunately, not a part of this statue survives today and we know about it from narrations of ancient travellers. It is said that Phedias took about twelve years to complete it. The head of Zeus was adorned with a sculpted wreath of olive sprays, and he would hold in his right hand an ivory and gold figure of Nike, the goddess of victory. In his left hand, there was a scepter with an eagle perched on top. This statue was located in the temple of Zeus, the god who was honored during the Olympic Games.

To the east of the sanctuary was the Hippodrome, an immense oval structure used as a stadium where horse and chariot racing were held. Although very little remains of the hippodrome, scholars who have reconstructed the stadium from ancient texts and manuscripts, feel that the structure covered a total length of 1200 meters, and the track was perhaps lapped 3-12 times depending on the type of competition.

To the northern side of Olympia is located the Doric temple of Hera, wife of Zeus and the most important of the Greek female deities. The temple was destroyed in an earthquake in the 4th century AD and its ruins can be seen today. To the north of the sanctuary, lies the Prytaneion, the residence of priests and magistrates. It was also the venue for feasts and celebrations for the winners of the Olympic Games. It was here that the early Olympic flames burnt. The only structure on the sacred sanctuary dedicated to a human is the Philippeion, a circular memorial of ivory and gold, which had once housed the statues of the family of Philip II of Macedonia.

All the archeological treasures that have been excavated on the ancient site of Olympia are housed in the Archaeological Museum right next to the site. Ancient pediments, rare statues, terracotta, bronzes, a fine collection of artifacts from the Olympic Games, as well as other exhibits of immense historical significance dating from the prehistoric to the Roman period stand out in this very interesting and well-labeled museum.

More information about Ancient Olympia and the Archaeological Museum of Olympia

Greek Costumes - Going Greek Is All The Rage This Halloween 2010

So what are you wearing this Halloween 2010? Well, thanks to movies like 300 and, more recently, the Clash of the Titans, Greek costumes are one idea that is sure to be popular this year. Greek costumes generally reflect the times of Ancient Greece. This time was very important to Europe and consequently America as many of the concepts and ideas that came from that time still underpin modern societies. Hence, Ancient Greece is often referred to as the cradle of European identity. So what might you wear if you decide to get a Greek costume, well, here are some ideas.

Greek myths and legends still fascinate people today. The recent movie, Clash of the Titans is proof of this. Although the movie is not taken from actual Greek myths, it is a composite of many of them and features many of the characters that Ancient Greece is best known for.

This includes the Greek gods - Zeus, Aphrodite, Poseidon, Athena and many more. There costumes are often simply a toga or tunic with a few adornments and accessories to make them stand out from the average toga.

For instance, the Zeus costume is a blue, gray tunic. He also has a chest plate and arm gauntlets. The costume is finished with a crown to reflect that he is king of the Gods. Clash of the Titans is effectively Zeus asserting his authority on the other gods, in particular, his brothers Hades and Poseidon. So he must look all powerful and majestic. And with this costume he succeeds.

Aphrodite might be another popular Greek god to go as. She is the Goddess of love and beauty. She would wear an appropriately beautiful costume. This could, again, simply be a white toga affair or you might go for a white dress.

Another Feature of Ancient Greek myths and legends is their tales of the Heroes. The first hero that springs to mind of late is Perseus. You can get a Perseus costume that is closely based on the one in the movie. This includes the gray armor and leg gauntlets.

Another legend that is based on true events is the Spartan last stand against the Persians. This is a famous last stand story that was related in the 300 movie. You can get a Spartan costume similar to those in the movie.

There is a Greek costume for men, women and children so make an impression this Halloween and try one on for size. Become a Greek god or hero at your next party.

Get your own Greek costume for Halloween 2010, including the popular Spartan warrior costume inspired by the Battle of Thermopylae as portrayed in the film 300.

The Skull and Crossbones

Whenever we see a pirate ship on television, cinema or in comic books we also see an extremely ancient symbol - the skull and crossbones. This however, was not a symbol of death or indeed poison but instead it profoundly symbolized life in so many aspects.

It was in fact used by the infamous Templars.

But, I wondered, what explanation did the Knights Templar give for using the symbol? Where did they get it from? I found a strange tale that is told by most Templar researchers to link the symbol to them and this tale surprisingly involves the number 9, a mother earth image and a skull.

In The Holy Blood and The Holy Grail, Baigent, et al tell the tale:

'A great lady of Maraclea was loved by a Templar, A Lord of Sidon; but she died in her youth, and on the night of her burial, this wicked lover crept to the grave, dug up her body and violated it. Then a voice from the void bade him return in nine months time for he would find a son. He obeyed the injunction and at the appointed time he opened the grave again and found a head on the leg bones of the skeleton (skull and crossbones). The same voice bade him 'guard it Well, for it would be the giver of all good things', and so he carried it away with him. It became his protecting genius, and he was able to defeat his enemies by merely showing them the magic head. In due course, it passed to the possession of the order.'

In another version this Lord of Sidon actually ritualistically marries the corpse.

Now such stories are naturally seen as macabre and the 'hidden message' therefore still evades us - which is the idea. But as I was to discover, what is really being conveyed in these stories, is the importance of the union or balance, which creates a state of enlightenment akin to that spoken of by the Gnosics, alchemists and mystics. [1]

I turned firstly to the main character in the tale, the infamous Lord of Sidon.

As a Titular metropolis of Pamphylia Prima, Sidon, dates as far back as Neolithic times. In the tenth century B.C. Sidon had its own coinage that bore the head of Athena (also Minerva a serpentine, feminine deity linked with healing.) I found that Athena was indeed the patroness of the city even though its people were sometimes termed 'a piratical horde' and Constantine Porphyrogenitus called Sidon a 'nest of pirates.' However the place did go on to play host to one of Alexander the Great's garrisons for a while, which was used to subdue this piratical element for Alexander's own purposes. Under his successors Sidon became known as the 'holy city of Phoenicia' and enjoyed relative freedom, with games and competitions attracting people from far and wide.

In 1111 AD the crusader Baldwin, who was later to become King Baldwin of Jerusalem, besieged the city and it was later to become one of the four baronies of the Kingdom of Jerusalem.

From early on, Sidon was a rendezvous for pirates, and even the slave trade continued after the fall of slavery elsewhere.

The fact that it was well known as a 'nest of pirates' was startling. I considered also the link of the skull and crossbones to piracy, especially as it was linked to the Templars, and the fact that the Lord from the skull and crossbones story was Lord of Sidon.

So was this Lord of Sidon mentioned in the Templar story really a pirate?

The links between Sidon are strong: Templars were highly commercial and indeed linked to slavery, so was Sidon. It collapsed in the 14th century, and so did the Templars. It had a huge fleet, and so did the Templars. In fact they were one and the same in many respects - both feeding from one another. The leaders of Sidon were linked with the Templars and would have seen the Templar's banking system as highly important.

As the Holy Land finally fell to the Muslims in 1291 I found mention of a Templar knight by the name of Tibald Gaudin who is thought to have carried off the famous Templar treasure. When Gaudin finally arrived at the Templar port of Sidon he was elected the next Grand Master - or Lord. It seems that there were ample financial reserves held at the Sidon Preceptory and so the treasure of the Templars cannot have been gold or otherwise it would not have been mentioned.

If Sidon had a hidden message in the text then it was simply that the Lord of Sidon was to get the Grail from the Lady of Maraclea - as intimated in the story quoted above - which reveals, and rather symbolically, the means through which he could claim it.

Having now established a link between Sidon and the Templars story I wanted to move on to the other name given that caught my eye - Maraclea.

This peculiar name I found was taken from a site that the Templars had previously held in the 13th century. I wondered whether the name had a symbolic meaning - a name with a hidden message in the language - why else would she be from Maraclea and not Antioch or Acre?

Initially I found the site was called Maraclea because it simply means 'Clear Waters' or 'Sea.' But I wanted to know why the Templars had used the term and began with the standard etymological practice of breaking the word up into two parts - Mara and Clea. I delved into the world of etymology once more and found some remarkable 'coincidences.'

Mara in Hebrew means, 'bitter' and was a common alternative for Mary - whether the Mother of Jesus or the Magdalene. In Latin it equates to mare, which is 'water,' 'lake,' 'sea' and indeed linked to 'horse' (female horse.) In Anglo Saxon I found that the term mara meant 'greater' or 'more.' In Buddhism Mara is 'death' or 'evil one.' Mara is said to tempt us like Eve and indeed it was Mara who tempted Buddha on the night before his enlightenment experience. I found this rather intriguing as in the Garden of Eden it was the serpent whom supplied the fruit of the tree of knowledge to Eve and therefore he was supplying enlightenment just like Buddha.

This Mara of the Buddhists I discovered was also closely related to Rama, where ma equates to black or dark, a term associated with beauty and a term also meaning 'Great Mother.'

I quickly moved on to the second part of the word - clea.

It was perfectly 'clear' what it meant. Clea means simply 'to clean,' 'to clear,' 'to be clear,' 'to be pure,' 'to be bright' or 'to shine!'

I ran through the variants that were now possible:

Mary Pure - well no, that didn't work.
Water Bright - this didn't really relate.

In fact there were numerous configurations that I could have made. In the end I landed on two that just seemed to make perfect sense and related etymologically in the Anglo Saxon for both words - without mixing up the languages. The result sent a shiver up my spine as I realised the two meanings of Maraclea. The first one was,
Black-Clear or Dark-Clear.

Well this was significant in the Gnostic sense, as the contradictory nature of the words revealed the duality spoken of by the Gnostics and Manicheans - light and dark, male and female.

The other meaning of the name Maraclea was equally astounding and related even more to the concept of illumination. It was 'Greater Shining'.

Here I have a Lord of Sidon, possibly a Templar knight, if indeed not a Grand Master, coming into union with the 'Greater Shining.' What could it possibly mean other than this Templar was a 'Shining One' and therefore experienced the Holy Grail of enlightenment for himself? The result of his union would be the head or skull 9 months later (although another version says 9 years,) and as I was to discover in my researches into the Temple of Jerusalem, the number 9 was of paramount importance to the Templars. The head was also definitely being used as a metaphor for this internal process, which actually involved the head or something within it.

I decided in this instance to just take a look at language rather than numbers and so consulted the Encyclopedia of Word and Phrase Origins by Robert Hendrickson.

'Nine days' Wonder - Minor marvels, things that cause great sensations for a short time and then pass into limbo... Kittens, puppies, and other young animals have their eyes closed for a number of days [9] and then open them and see the light....'

Amazingly this is mirrored in folktales, myth and legend and therefore in the significance of the number we have here a period of 9 months where the female is pregnant; 9 months or years for the Lord of Sidon to receive his prize; and 9 days before the new born animals see the light - it all made complete sense.

So, the skull and crossbones is linked to the number 9 and again, enlightenment and the Holy Grail - which are both seen as good, pure and holy. Indeed, was not the Holy Grail said to be the giver of all good things, just like the head in the Templar tale, 'guard it Well, for it would be the giver of all good things.'

'It became his protecting genius.' Others have found this part of the text very strange, however I understood what it meant immediately, and for confirmation I looked up the meaning in a standard dictionary and found perfect corresponding evidence for the Greater Shining.

Genius, inborn faculty. (L.) L. genius, the tutelary spirit of any one; also wit, lit. 'inborn nature.'

So, this 'Greater Shining,' this 'head,' became his inborn faculty or inborn nature. The two were the same.

The Lord of Sidon (a Templar) mates with the Lady of Maraclea (a Cathar) and we have an inborn nature called genius. Suddenly the Skull and Crossbones symbol, as explained in the Templar text is revealed before our eyes.

At this point it crossed my mind that I had only gone back to the Templars. I wondered just how far back in time I could possibly go with this skull and crossbones image?

The earliest reference to the actual skull and crossbones I could discover was the Templar reference. However, taking the image as symbolic, which is what it indeed was, then we are looking for the shape - a skull or head with a diagonal cross or saltaire below.

Amazingly, I found this in Ancient Egypt and on the tomb of Tutankhamun.

Carrying a staff or sceptre was, in ancient Egypt, a symbol of universal power. The Flail was used to beat animals (or indeed people) into submission and shows authority like the sceptre - hence their interchangeable nature. The crook was a shepherd's tool, used to pull stray animals by the neck without hurting them. Here we have an image of push and pull. This shepherd aspect of the king is as old as Mesopotamia and possibly beyond.

These two symbols reveal the two opposites of the duality spoken of by the Gnostics, the push (positive/male) and pull (negative/feminine). Anyone therefore that mastered these symbols had mastery over the self and the enlightened connection or 'shining'.

Tutankhamun was seen with these devices held upon the chest in the diagonal cross form, making a replica of the skull and crossbones in form, whereas many other Pharaohs held them outwardly away from each other.

When dead, the king becomes Osiris, and I find that this same image is seen upon Osiris and is therefore his symbol - a symbol of the ultimate universal power and borrowed by his earthly representative the Pharaoh.

Osiris is the archetypal resurrecting god - a symbol of regeneration, akin to the power of the Templar in the text. So the Templar is symbolically the same as Osiris on Earth. No wonder that Christ is called the 'good shepherd' - as was Osiris who was called the 'good god.'

I turned my gaze even more laterally and found another symbol related entirely to both the skull and crossbones and the Egyptian influence.

This separate and more obscure image also closely resembled the skull and crossbones and over it a 'holy war' has raged for decades.

The symbol is now commonly known as the Chi-Rho - so-called because it is composed of the Greek letters chi (X) and rho (P).

The war over these two letters is fought between Christians and historians; between fundamentalists on both sides and yet both sides are missing the point.

The Christians claim that the Chi-Rho form the first two letters of Christ (Cristos) and the historians claim that the symbol can be found hundreds if not thousands of years before Christianity and was therefore usurped by them. I needed to look into this to discover the origins, meaning and why it so resembled the style of the skull and crossbones.

An identical symbol to the Chi-Rho has been found inscribed on rocks dating from 2,500 BC Sumeria, and was interpreted as 'a combination of the two Sun-symbols' - symbols of the ancient shining ones. It was also used on the coins of Ptolemeus III from 247-222 BC, as well as being an emblem of the Chaldean sky/sun god and has the definition 'Everlasting Father Sun' (From An Illustrated Encyclopedia of Traditional Symbols.)

According to Sir Flinders Petrie - the Egyptologist - the monogram Chi-Rho was the emblem of the Egyptian god, Horus, thousands of years before Christ and is therefore a link between Horus the saviour, and Christ the saviour. I had already noted on several occasions the links between these ancient characters and so this was highly believable and conclusive. [2]

To others it is in this second century B.C. where the secret of the monogram lies with the Greek Ptolemy's who are said to have 'borrowed' it from the Africans. In this scenario the Greeks called their version of Horus, Herecles or Hercules and applying the Greek Xpnc (Chres) to him. This suddenly gave the ancient Horus the title of Lord, Chrestos, and inevitably 'Christ.' This, if true, shows again the direct link between Horus, the Chi-Rho monogram and Christ.

Indeed many European scholars have actually identified Heracles or Hercules as none other than an emblem of Jesus Christ. I had to bear in mind that the name Heracles, is related to Hero and Hu, which means, 'shining,' but are also related etymologically to Christ, showing that these titles of the Messiah are directly derived from the word Heru which is of African origin and can be found the world over as a word for the sun.

But there were even more links, as I discovered. The Greek title Christ is, like Heru, also derived from an Egypto-African word Karast, and Kristos or Christos is the KRST (Karast). Karast is a person who is anointed (enlightened or shining) as a Heru (Hero) during his or her own lifetime. It is only when deceased that one receives the great term 'a KRST' or Ausur. This Ausur is none other than Osiris, the same Egyptian god I found with the skull and crossbones symbol with the flail and sceptre.

The anointing, in the physical sense, (as the anointing also applies in the spiritual sense,) derived from the body or cadaver being anointed with spices, oils, and resins to preserve it. The body is then wrapped in bandages, placed in a coffer, which is then placed upright to symbolise resurrection. It was believed that in the plural, the Herus (Heroes) or Krst's (Christs) would rise again to save the world as fully divine beings and thus become the 'once and future king.' It seems then that this tradition came out of Africa, through Egypt and into Greek and Christian legend and brought with it the original symbols of Osiris.

So, I wondered, what do the Christians believe this Chi-Rho to derive from? Well, I found that it goes back to Constantine and was an amazing propaganda device to establish the new Roman, and therefore to become, Catholic Empire.

The story goes that Constantine had a vision before a great battle and was told that with the symbol of the Chi-Rho, which they called the Labarum, he would gain victory - 'By this sign, you will conquer.' Using the new Labarum as his battle standard, which would relate to everybody, Constantine took the field and the Empire was 'born again.' In fact, the Christians had been using this symbol secretly as a sign of their faith and Constantine (or somebody who advised him) simply picked up on the fact that this symbol and the whole saviour process was as ancient and widespread as I am outlining here - and according to some - it was used to plunder the treasuries of the pagan temples. Amazingly, on the coinage during and after Constantine's death, we see the Laburnum or Chi-Rho, underlined with the serpent - a symbol used throughout time and especially by the Gnostics for wisdom and the enlightenment process.

Strangely, just as the biblical term, Elohim, is a plural word used for God, and in reality means the 'Shining Ones,' the X part of the monogram is also plural (X=10) and is the number of Yahweh. Chi also has another meaning - 'Great Fire' or 'Light' or even 'Shining.' The P (Rho) part is more difficult but has been related to 'Pen' (pen means, 'head') in etymology thus implying that the loop on the top of the P is a head, in the very place that a skull would be on the skull and crossbones. [3]

I found that the symbol of the skull and crossbones then, stretches back over thousands of years and relates entirely to the ancient 'Shining Ones' - and directly to Osiris, the Egyptian version of the original 'Shining Father' incarnated on earth. Not only that, but geographically it goes right into the heart of original Shining territory.

I was tempted to look into the infamous Skull and Bones secret society of Yale University so famously joined by Bush Senior and Junior, as well as many other extremely powerful individuals, but decided I was straying too far into the world of conspiracy theories that had little or no substance and so I left well alone. However, as I was to discover with the Jesuits, who swear an oath upon the symbol of the skull and crossbones, I found that the Freemasons also have this symbol and utilize it without too much knowledge of its origin - or so we are led to believe.

However, what was intriguing was the 'degree' that utilized the symbol - the Knights Templar.

In the George Washington Masonic Memorial in Virginia, USA, there is an anteroom with a large portrait of the Colonial period Grand Master Lafayette wearing the Templar Apron bearing the 'skull and crossbones.' The same apron images have also been found elsewhere, such as Michigan, Detroit and Jackson and I am sure that these are not the only ones, as several members have also pointed out to me that they too have seen the aprons.

According to Masonic history the apron can only be dated back to the late 18th century and to the revisions carried out by Thomas Smith Webb where he pointed out that 'The flap black, and a skull and cross bones embroidered in silver thereon.'

On another apron is described by Cornelius Moore in 1859, 'An Apron of black velvet of a triangular form, trimmed in silver lace. On the top or flap is a triangle, with twelve holes perforated through it; in the centre of the triangle is a cross and serpent; on the centre of the apron is a scull and cross bones, and at equal distance from them, in a triangular form, a star with seven points; in the centre of each star a red cross.' (From The Craftsman and Freemasons Guide, 1859.)

The reasoning behind having this skull and crossbones on the Masonic apron, is revealed in a story with which I began - the story about a Lord of Sidon . . .

Notes
1 For more on this see Gnosis: The Secret of Solomon's Temple Revealed by Philip Gardiner, New Page Books, 2006 and the DVD from Reality Entertainment 2006

2 For more on this see Secrets of the Serpents: In Search of Our Sacred Past by Philip Gardiner, Reality Press, 2006 - a book and DVD.

3 One thing is sure, Rho stood for 'Pater' or 'Patah' (the Egyptian god Ptah), which is 'Father.' Together they therefore make 'Shining Father' (Dyaus Pitar) - which later became the Roman 'Jupiter' (Hu Ptah=father sun) - the Roman version of the Greek father-god Zeus.

A frequent media guest and public speaker, Philip Gardiner is the international best selling author of Secret Societies: Gardiner's Forbidden Knowledge, Revelations About the Freemasons, Templars, Illuminati, Nazis, and the Serpent Cults

Gnosis: The Secret of Solomon's Temple Revealed

Secret Societies

The Ark, The Shroud, and Mary

The Shining Ones

The Serpent Grail

Secrets of the Serpent

Proof – Does God Exist? His website is http://www.gardinersworld.com

Ancient Olympia Greece - Pelops and Hippodamia

The first evidence relevant to the worship of Pelops and Hippodamia, in the area of Olympia, appeared during the Mycenaean period.

The mythological tradition of the area is connected to the ancient king of Pisa, Oenomaus, son of the god Ares. Oenomaus had received a prophecy that the end of his life would come with the marriage of his daughter Hippodamia, whom he begot with his wife Sterope. In an attempt to avoid the prophecy, the king announced that he would give his daughter to the one who would beat him in a chariot race. He, however, used unbeatable weapons and immortal horses, gifts from his father. During the races, many brave young men were killed. Oenomaus buried their bodies close to the Hippodrome of Olympia and nailed their heads over the gates of his palace. The last suitor was Pelops, son of Tantalus, who fell instantly in love with Hippodamia and she with him. The only person who could help them was Oenomaus' charioteer, Myrtilus, son of Hermes and gifted with his father's cunning. Pelops promised to give Myrtilus half of Oenomaus' kingdom if he would help him win. Myrtilus accepted and, before the start of the race, he replaced the axle-pins of the king's chariot with wax pegs which, once the race had started, melted and the wheels fell off. Oenomaus became tangled up in the reins and was killed. Pelops, therefore, won the race and took Hippodamia for his wife along with the whole kingdom of Oenomaus. When Myrtilus later tried to rape Hippodamia, Pelops killed him and then went to Oceanus where he was purified by Hephaestus and returned to become king of Pisa, wise and strong. He also renamed the land, which was formerly called Apia, to Peloponissos (the Island of Pelops), or the Peloponnese.

Without doubt, Pelops was the most important mythical person of the Peloponnese. In the sacred grove of Olympia, the inhabitants founded a sanctuary to honour him at which they would offer sacrifices every year. The belief that the Olympic games were established and took place in memory of Pelops was also very popular.

Take a look at some of the best Greece Travel Guides, learn more about the Tour to Olympia and find numerous Greek-hotels/Olympia-hotels/Olympia-hotels.asp">Hotels in Olympia to spend the night.

Cute Baby Names and Meanings

If you are wondering about some cute baby names and meanings, this article will give you lots of good ideas.

Picking a cute name for your baby can be a complicated process. You probably are hearing all sorts of recommendations from your family and friends. Do you name your baby after Grandma or Grandpa? Should your child be a junior? Or would you rather find the cutest, most adorable name you can think of?

Cute baby names are not only adorable when your child is a baby. They are endearing even when your child is an adult.

One thing to keep in mind when choosing a cute baby name is that it can grow with your child. The perfect name will be oh-so-cute for your infant, but will mature with your child. Do you want your daughter the lawyer to be called Honey?

Another aspect of naming that means a lot to some parents is that the name must have a meaning that feels right. For some people as long as it sounds right, that is all they need, but for others, the name must be meaningful. For example, my friend's firstborn daughter was named Morwenna, because it meant "wave of the sea." The stretch marks my friend got on her belly during her pregnancy made a swirl around her belly button just like an ocean wave. It seemed to fit.

Part of what makes a baby name cute is how well it goes with the last name. Let's face it, some names just flow off the tongue and sound cute. Say both the first and last names out loud, and see how they sound together.

Some cute girl names we've come across include names from all over the world.

Midori is from Japan, and means "green."

Niamh (pronounced Neev) is Gaelic and means "light, illumination."

Kysa is Swedish, and means "pure."

Hermione is Greek, and is the feminine version of Hermes, the Messenger of the Gods.

Verity is from Australia and means "truth."

Ananya is Sanskrit, and means "unique."

Awendela is Native American and means "morning."

Meadow is American and means "a field of flowers."

Sophia is French, it means "wisdom."

Some cute boy names that we really like include these:

Callum is Celtic, and depending on your resource means either "brave warrior" or "kind and gentle."

Kadan is Japanese, and means "companion."

Mavi is Turkish and means "blue."

Briar is English, and means "bramble."

Dario is Hispanic, and means "rich."

Nodin is Native American and means "wind."

As you can see, there are many cute baby names to choose from. It may take some time to wade through the scores of names out there. And you may need to be open to looking at names from other cultures to find one that is perfect for your new little one.

Choosing a name is one of the first gifts you give to your baby. Your baby will carry this name throughout their entire life.

Keep reading for more about babies, very early pregnancy symptoms and what to expect in your week by week of pregnancy.

Mr Grizzly

The power and the strength of the Bear is as impressive to us today as it was to our oldest ancestors. In our bygone world powerful animals often represented the Sun, especially those animals that hibernated through the winter months. As the Sun declines they hibernate, the hours of daylight getting shorter each day, until it is reborn at the Winter Solstice, and these animals emerge from hibernation, renewed and gain strength each day.

Sadly the Bear is now extinct in Britain, but the strength of its spirit still remains alive. The Brown Bear died out in England in Scotland in the middle ages, and even earlier in Wales. There was never any evidence to suggest the Bear ever existed in Ireland at all during historical times.

They were hunted and persecuted out of existence. However, they were once very numerous and during Celtic times their skins were exported in large numbers from Scotland.

Bears are mostly vegetarian feeding mainly on nuts and berries as well as insects. However, after coming out of their hibernation in spring when food supplies are scarce they will sometimes attack a young boar or even a deer. A she-bear may produce up to twelve cubs during her lifetime.

Alpine grottoes and caves have been discovered dating back to 100,000 BC, that contain bear skulls and ceremonial hearths. We can imagine that to ancient people the bear caves represented the power of the invisible spirit world.

The Bear is one of the most revered animals in the world, and still even today thought to have enormous powers, they are able to hear sounds from great distances and able to remember.

When a bear is skinned they are said to resemble the same proportions as a man, and is human-like. They have always been identified with humans and the Tungus and Yakuts of Siberia called him Grandfather and in this land of great superstition it was believed that a man could turn into a bear if he crawled round a forest tree trunk three times, growling all the way.

The bears hibernation followed by emerging renewed in the spring, walking tall on its hind legs, has led to it being associated with regeneration and rebirth. Being regarded as a very mystical creature, our Celtic ancestors became cult worshippers, and the Celtic word for bear was arth or arthe, the Latin word is Artos and gives rise to the ancient name of Arthur. The legend of King Arthur sleeping in an underground cave until Britain needs him, recalls a bear in hibernation.

It seems likely that Arthur was originally a Sun god, and Arthur's underground sleep represented the rebirth of the Sun from the underworld of midwinter. In Gaelic tradition it is said that the Kean mathon (head of the bear) was one of the seven signs or names of star clusters engraved on the shield of King Arthur.

Male bears were sacred to the god Thor and the Celtic goddess Brighid is known as the daughter of the bear, and her spring festival of Imbolc follows the rebirth of the Sun in winter. Greek myth tells how the Great god Zeus, originally the Sun God was always looked after by two bears, who of course became Ursa Major and Ursa Minor. These constellations revolve around the Pole star the centre of the heavens. The Greek goddess Callisto was changed into the constellation of the Great bear and in myth became know as the nymph of Artemis and had two sons by Zeus. In a jealous rage Hera turned them into bears and Zeus turned them into constellations.

Bears were sacred to Artemis/Diana and at their Temple of Brauron just outside Athens, dances were performed by young girls dressed in yellow and called bears, these young maidens would then be rushed at by young men in a pre-marriage ritual as a mock hunt afterwards a goat would be sacrificed as a summer and winter solstice rite.

In Labrador when Eskimo's eat a bear's flesh this is a sacred feast and every morsel must be consumed and during this feast there is no talking only singing and drumming.

Bear - baiting continued in Britain until 1835, when it was outlawed. The Romans used bears in their arena's to perform and execute criminals and the sport of bear-baiting and indeed it was the Romans that introduced this cruel sport into Britain.

The Native American warriors would invoke tribal totems before going into battle and might have dressed in bearskins and go berserk calling upon the animals great spirit and courage to aid and possess them. In Native American teachings the bear is associated with the Dream Lodge, the inner space where the advice of the ancestors is sought.

It was once believed that when bear cubs were born formless and their mothers licked them into shape, hence the saying 'licked in shape'. In folk magic to wear a claw from a bear around the neck would take away the pain of childbirth, but in today's world the bear can still teach us many lessons, we learn that strength comes from within-not from what we own.

Think like a bear....he is connected to the earth and the spirit world; this is because he is at peace with himself. His movements are slow, sure and deliberate. He acts with purpose and in winter he enters his silent cave and emerges renewed in the spring.

You too can enter the stillness and seek and find the answers and strength to overcome problems and be the person you most want to be.

Written by

Amber.

Amber Famous Psychic - Book An Accurate Psychic Reading Today http://www.Amber-Live.com

Lord Byron - The Original Rock Star

Lord Bryon, at this stage of the game, more myth than man, was the first of the rock and roll stars, a maverick and an original. His life is like a cartoon, everything appears larger than life, he lived it by his own set of rules, no matter to the consequences. He was born in 1788 into the ying-yang relationship of Captain Mad Jack Byron and Catherine Gordon, heiress of Gight in Aberdeenshire and descendant of King James I. Mad Jack bolted soon after the birth of George Gordon, Catherine took the infant back to her native Aberdeenshire whereupon the death of his fairytale sounding great uncle The Wicked Fifth Baron Byron, the young George Gordon became the Sixth Baron Byron. As Lord Byron, he inherited the Newstead Abbey estate in Nottinghamshire, England. He was schooled at Aberdeen Grammar School, Harrow and Trinity College, Cambridge.

On the surface, Byron's childhood would indeed appear blessed, but of course it had it's problems, indeed it had some very dark problems. He was the product of quite the maniacal home life, his father wanting nothing to do with him and his mother been partial to the more than frequent hysterical episode; he was born with a club foot and this attached to problems with his weight led to self esteem issues; sinisterly there are also many accounts of his sexual activities with his governess while still a child, indeed she was fired from the position amidst accusations of beating Byron. In Harrow, he became quite the tearaway, perhaps his mischievousness stemming from his feelings of inferiority due to his lameness and the fact that although he had a title he was still dreadfully poor in comparison to most of his schoolmates.

However, although far from the model student, he eventually rose to prominence with his dramatic Speech Day recitations. Harrow, is where Byron began to become Byron. After finishing at Harrow, Byron entered Cambridge University in 1805 where he immersed himself in the extra-circular activities of wild parties and love affairs. However, 1806 saw the publication of his first volume of poems, Fugitive Pieces; but it wasn't well received and Byron recalled as many copies as he possibly could and had them destroyed. He persevered though and continued to publish material, releasing Poems on Various Occasions (1807) and Hours of Idleness (1807) and English Bards and Scotch Reviewers (1808), the latter was a sell-out success. Upon leaving Cambridge, it appeared that Bryon may have put his wild past behind him, he moved back to Newstead Abbey, began to write in isolation and even took up his seat at the House of Lords. The latter endeavour went horribly wrong, nobody accepted him at the Lords, dragging up all his insecurities once again, he affirmed that he would define himself in the world by his own terms.

He rode away from England, quite literally, travelling on horseback across Spain and Portugal, boarded a frigate and crossed the Mediterranean, landing in Greece by way of Albania. In Albania, he fell into company of the notorious brigand turned ruler Ali Pasha, together they travelled in some splendour. Byron spent almost two years living the high life on the Continent, scribbling constantly, he returned to England in July 1811, just two weeks before the death of his mother. In the spring of 1812, his account of his travels on the Continent, Childe Harold was published and sold well. Byron was beginning to achieve the fame that he so long coveted, in addition his sale of the Newstead Abbey estate made him a wealthy bachelor, women of high society soon came flocking. One of whom was the married Lady Caroline Lamb, their tempestuous affair shocked London society, however Byron soon tired of the relationship and abandoned any further trysts, leaving Caroline broken-hearted. Devastated, Caroline did not go gently, she wrote letter after letter imploring the cruel Byron to take her back, he refused, she tracked him down, he refused, she went a tad delirious burning effigies of her erstwhile lover along with his letters. Byron had moved on to fresher pastures, bedding a friend of Caroline's, Lady Jane Oxford and then moving swiftly on to a cousin of Caroline's, Anne Isabella Milbanke.

This latter affair with Annabella as Byron called her, was to have some longevity, in fact he married her and they had a daughter Augusta Ada, and with that they separated a month later. It was a strange relationship, mostly something of a mystery, they appeared very much in love but then split up very abruptly. There were financial woes, indeed creditors were coming a knocking and arrest seemed imminent. There also exists the lingering rumour that Byron had married to cover up an incestuous relationship he was conducting with his half-sister Augusta that had produced a child but this has never being confirmed. In any case, many in the London high society set cut off both Byron and Augusta, Byron had enough and fled England once again. He traipsed through Europe, eventually shoring up at Lake Geneva where he met and hit it off with Shelley. Shelley had arrived in Switzerland with the inseparable half-sisters Mary Shelley (nee Godwin) and Jane Clairmont, known as Claire. The foursome spent four carefree months at Lake Geneva, it was also a very important time for world literature with Byron writing Prisoner of Chillon, Shelley writing Mont Blanc and Hymn to Intellectual Beauty and Mary Shelley writing Frankenstein. Bryon had paired off with Claire, who fell almost immediately pregnant, whence Byron became disillusioned once again and cast her aside. Claire returned to England with the Shelley's, while Byron meandered around Italy.

He was to remain wandering around Italy for a year, embarking on love affairs and writing. In the summer of 1891, he began a serious relationship with the married Countess Teresa Guiccioli. The affair was to cause serious ructions between the Guiccioli and the Gamba (Teresa's family) families, resulting in an ecclesiastical separation of the couple. Byron was in fine fettle, canoodling with the Countess, keeping a practical zoo in his Venice residence and in 1821 hanging in Pisa with a glut of Romantic poets including the Shelleys, the Hunts and Edward Trelawny. Tragically, Shelley was killed in 1822 in a boating accident, which had the result of breaking up the circle. Byron began looking around for options, in true Byron style he chose the quixotic and outlandish decision of organising an expedition to go to Greece to support the Greek war of independence against the Turks. He charted a one hundred and twenty ton ship, Hercules, arriving in Greece in August 1823. The expedition didn't go as expected, Byron was harried for money by Greek commanders, money that he simply did not have. Tragically, it was to be Byron's last hurrah, in April 1824 he caught a fever and died.

Russell Shortt is a travel consultant with Exploring Ireland, the leading specialists in customised, private escorted tours, escorted coach tours and independent self drive tours of Ireland.
Article source: Russell Shortt, http://www.exploringireland.net
http://www.visitscotlandtours.com

Dragons - Good Or Evil?

I remember sitting in a big circle on our special rug in my kindergarten class and listening to my teacher, Mrs. Tuttle, read us stories about big, mean, fire-breathing dragons and the strong, fearless knights in shining armor with the big sword that would come and kill the horrible beasts. There was always a pretty (and rich) princess that the knight would be rescuing and would later marry.

My childhood was full of damsels in distress and ferocious dragons. It was more than once that I asked my dad to check under the bed or in my closet to make sure there were no beasts in there.

When I was a little bit older, I learned about Hercules in Greek and Roman Mythology. Hercules, the son of Zeus and a mere mortal, slew the Hydra, the nine-headed serpentine dragon.

A few years later, I read Beowulf, albeit begrudgingly. Again in this story we find the greedy, evil beast of a dragon failing against our strong, honorable hero.

Even movies like Reign of Fire and Dungeons and Dragons portrayed most of the mystical beasts as ferocious, man-eating (and burning) creatures. And you can't forget about Godzilla, although most will say that he was some kind of dinosaur/iguana, but at least one of his adversaries was a dragon.

These dragons were always going after our women, our children, and our neighborhoods.

However, while watching Pete's Dragon and Puff the Magic Dragon, I was introduced to a different kind of dragon. A friendly, peaceful one. And then there were also the dragons of Dragonheart (I and II) and The Never Ending Story. These creatures were nothing like the ones I had learned about. So where did they come from?

The short answer is they came from the East. In Eastern philosophy, especially Chinese, the dragon is a divine creature. In the East (as well as some other philosophies such as Feng Shui, Celtic, Draconia Wicca, Gnostic, and Alchemy), the dragon represents a supreme being offering hope, courage, and good fortune. It is also a symbol of transformation, personal and spiritual quest, and wisdom.

Where in the stories I had heard before dragons are guardians of treasures and prisoners, in this new philosophy they are protectors of not only humans and valuables, but of spiritual perfection, itself. Yet every dragon, Eastern or Western, friend or foe, is a symbol of power.

When I glance around the room I'm sitting in, I see a resin fantasy dragon collectible of two creatures viciously fighting. Upon seeing this figurine, I don't think of evil, instead I think strength and power. On the other side of the room (on the east side per Feng Shui guidelines) is a Chinese dragon carved out of a dark wood-it makes me feel peaceful.

Dragons are often portrayed as fierce, fire-breathing creatures that are bringers of destruction and will take down anything in their way. We see this in legends and literature and movies in both Western and Eastern culture. However, they are also the protectors of spirituality and good wealth. What do dragons mean to you?

Jeff Bronson is the owner of Obscuria.com, a darkly unique Gothic shop.
Obscuria not only offers a quality selection ofdragon figurines and dragon collectibles, but many custom made, exclusive in the U.S items.

The World-Old (A Short Story, of Science Fiction of the 22nd Century)

(An Island Continent lie beneath his feet, as the Neanderthal's ship Drew nearer...)

Part One

The Great Neanderthal

1

"The world-old, as we knew it, as I had read about it, was now the new world, or the only world I knew. I had read about it, the way it was, used to be, that was 165-years in the past though, the Great Nuclear War (holocaust of the twenty-first century)took place in 2016 A.D., from meagerness I had read, and after the war, there was not much left for man to survive on-thereafter, speculation of how the Western Hemisphere from the Eastern was, was unknowable, there being no such thing as North American, or diplomatic relations, like from the old world order. All the lands were infested with ethnic and tribal peoples, some small villages here and there, and townships, even a few larger cities but mostly dug out from the remains of the Great Bombardment, but hell to live in. No such thing as transoceanic commerce. All such things had long ceased before I was born-owing to the upheaval and hazards of the unpredictable waters of the oceans, the seasons of the year the constant trembling of the earth. To my understanding, the Great Bombardment comprised of no less than three-hundred nuclear bombs, some 283-megatons. There was no escape for anyone. God alone knew the exact number of humans that perished that day, perhaps four-billion, and then there was the seas, the prey in the oceans, sharks and killer whales, and the constant title waves themselves, and ongoing storms, nothing could navigate the great seas of earth back in those days-that accounted for another unknown number of dead, and then came the Neanderthal, not sure if they really were Neanderthal, but we all called them that, aliens, or Neanderthal-Titans, all the same if you ask me. The greatest argument against peace the world had ever known since that deadly day of the Great Bombardment, the onslaught of the world, was these creatures.

And I found myself on the shores, I do believe of one of the Azores, perhaps the biggest of the islands, here I found peace, prosperity and happiness beyond the saturated world of the prevailing Neanderthals, alone yes, but alive. I came here fifty-seven years ago, at the age of nineteen, or was I twenty, I can't remember now. I no longer know the fate of the relinquished lands, the lands I've given up, which lie beyond this island, and just as well. And below me, under this island is a continent. It came up out of the belly of the earth, when the Great Bombardment took place, I can see it on a sunny day, even walk off this island and onto the continent below, it is only a few feet deep at its most shallowest point.

Anyhow, for posterity sake, this war I was talking about involved China and Russia as well as the USA, the Middle East, it involved I understand some little country named Korea and Japan, and Iran, I know of Iran, it's old Persia. The other ones I had to read about in an old book, over a hundred years old. The Neanderthals burnt most of our literature, ruled with an iron hand as they say. And some of us humans revolted against them, perhaps they are long-dead now. So life deems that my story be told, and given to the future world. Although war will not be removed forever by man, or whatever may take his place, only the Good Lord of the High Heavens can insure this. But I am glad that I have been chosen to imprint this story into stone, likened to the Rosetta stone. I will soon roll this great stone off this cliff, into the sea below, on this side of the mountain, it is one-thousand feet deep I believe, and let the hands of Providence find other ways to uplift it, wherein due time, man will be ready to read it, without dread of deadly harm.

Surely as I put into stone here, the last few letters, I see in the far-off distance, the Neanderthals nearing the island, they will surely hang me in front of their masses, for the glory of capturing me, but I have something else planned.

2

My name is Ramsey Cowley. I was born in a land once called Minnesota. And so I joined a people known as "The Free world," and learned the craft of warfare. I joined early on in life, at the age of seventeen, at nineteen received the rank of Major. Much of my service was in hunting the Neanderthal, assassinations. My last mission was to capture and bring back alive, the Great Outlaw, Neb Nedol; he was called the mountain of thunder, the glare of lightening. He came suddenly out of a vaporous wall, with fury and tempest within the confines of my campsite, high up in the Andes. He rode in on a glorious white horse in comparative ease, almost as if to appear coming down from the clouds. But he could not deceive me-I knew exactly who he was, perhaps my twenty men I commanded thought him a fend, for they were struck with terror(all but one, Zeraval, who mysteriously disappeared in the night, he was the sergeant of my second squad, I had two squads of ten men each, he actually was my most loyal of the whole lot, so I thought.

I was looking for some other explanation, but the best I could come up with was he sold me out to the Neanderthal, and abandoned his kind for gold, or other services he might need in the future, who's to say, it is all conjecture of course, I'll never really know, and perhaps better off or not knowing)-like a storm he lashed out with the head, and teeth attached to the jawbone of a ram, using it like a battleaxe, and slew all nineteen of the twenty of my comrades-it was in the wee hours of the morning, we had just gotten up to prepare breakfast. His face was grave and at first I thought he was a vision.

"Well," I said, after he had slain all twenty less one, of my men-my voice tense with excitement and dread-and I no longer had my revolver in my hand (of which I had only three bullets),nor the stone weapon, that looked like a dagger, in my other hand, I was now at his mercy pert near, he gave me a message:

"Come and serve me, bow to me, and my faith, make a rapid headway to my temple, should you not, should you attempt to ride out the storm upon the surface of the earth, the one I have created, designed for all mankind, it will be suicidal."

For that moment he was in command, so it would seem. I said nothing, although his words were well taken, nothing but such an act can draw a man into making a quick and vital decision-beyond the normal tedious process the mind of man goes through dealing with reasoning things out before hand, before he makes a final resolution, we are all familiar with such deliberating processes, I'm sure, but I told myself I could not bow, but I was thinking I could serve him, but how can one do this without the other, henceforward, I didn't have to make the final decision, it was made for me.

3

Well, to get on with the story, he didn't leave as I was hoping, perhaps expecting him to, and allowing me time to deliberate, and he dropped his weapon-right then and there, something else un-expectant; then, sunlight, a brilliant dense vapor like cloud with a wild source of sunlight appeared, a hard piece of strata beneath it, struck him, as if spirits came out of a dark-storm into light, with a weapon thrust upward into his belly, as if someone or something had been holding these spirits back, and they had just gotten loose, for my sake, and perhaps in sympathy of my situation, this light went to tremendous heights, he fought these elements, but nothing could ruffle them. Consequently, I stood speculating upon my chance of getting away, frightful it all was to this towering, thirteen food Neanderthal-Titan.

This towering figure now stood staring at me as if at salute, then he fell like a great timber to the ground, trembled the earth some, I was mentally computing the seconds in my mind that must have elapsed before this great being became breathless, I didn't move, and when I did I said,
"What now?"

I had tried everything to explain this happening, until I was exhausted-to my people, they all dismissed this as if I was being modest, said, in a few kind words, "You are the hero, you have slain the number one criminal of the world."

But what they didn't tell me, and perhaps it didn't occur to them, I became the most wanted, that is-hunted, hero in the world. Everyone wanted a piece of me; the new world was not any different than the old world before me, and that far-off world, called the Stone Age.

I had little time to think of this, coincidence or not, the Neanderthals had a price on my head, I was a trophy to be captured. And for the many tribes and peoples of the world, I was a legend to be put into a cage, and everyone wanted to fight me, see me, see if they could be number one.

I had thought a thousand times on what to do-I dare not submerge myself in some cave, even my kind, my people would be tempted to sell me to the highest bidder-thus, I learned you don't change the world by changing the times, you simple do things different. Now I was called Ramsey the Great, who killed the Great Neanderthal-Titan, with one blow. Stupendous waves of daring came in from all sides-; there was no bridge man or hybrids could build, that would save me from the claws of an evil being's heart.

4

As it became more and more apparent I had to leave under cover of the night, and I did just that- (I would seek the nearest land in the great ocean, perhaps on my journey explore the forgotten lands I had read about, here was my chance, or if I had to remain at sea, and perish, but the balance of power among the races of the world was no longer a mystery, the Neanderthal ruled, as they did thousands of years ago. Perhaps some will think my departure was treason, I would have replied to them, as I will now to you: there is no law which compels to put punishment upon oneself. Should I have stayed this was my destiny, and where there is no law, and only injustice, and we are doomed the whims of others, then we become our own best judges, exacting judgment upon those whom would wish to enslave you)oh, yes, a shade of annoyance to my life, but I loved life, and I had not lived but one third of it at this time. Very well then, I told myself, let's go live and enjoy a minute at a time, the fullest one can, by seeking adventure-you know how a young man thinks, it was all phenomenon, sensation, fact to be, to the mind.

Twenty days I bucked the Great Sea called the Atlantic (and as I'd look back, thinking a few of those days on Zeraval, I could see that he was quite fearful of death, and he responded hearty with life, he was younger than I, and in a way represented the aristocracy of our people, he really didn't have to be a soldier, he chose it to show his father he was a son molded with courage). Anyhow I drifted east, continued toward Europe, as they once called it, I had no qualifications in being a sailor, but I did not doubt my ability to remain on course to my new destinies- (I had talked to an old amenable sailor at the docks, of a conurbation, at the mouth of the Amazon, where I traded the weapon and the head of the Great Neanderthal, Neb Nedol, for a vessel, and a weeks instructions on navigation, he figured he'd be the talk of the jungle, and I'm sure he was, and still is)(the vessel being: a Neolithic style ship, with a Greek twist to it, a ship of papyrus, netted together tightly, thick and boldly, with a low and wide sail, such ships were used some eight thousand years ago-to my understanding, and this was the craftsman's best and most enlightened idea, I had learned, or heard about the ancient Melos or Milos, that they had used such crafts going from one island to the next in the Mediterranean Sea, a sea I had only read about).

As I drifted away in the wind from the mouth of the Amazon, drifting towards the east, I found myself becoming more and more deeply involved with my freedom, yet in dilemma, being alone confronted me, could I not unravel, go crazy? And now I sat in this one spot in the vessel in perhaps in the middle of the Atlantic, according to my homemade map, on pig skin, by the old sailor, there was nothing but rough winds, and turbulent waves, sometimes I think being hit by the waves was no worse than being stoned by the Neanderthal, everything was uneven in the ocean, it all suggested death, giant masses of water, perhaps centuries old.

On the last of the twenty days, at sea, I looked for soil, grass floating, anything but water, my supplies were nearly out, my water had been gone for two days now, my face from the sun had become stone-like, burnt to a rigid, hard bacon, memories of the past, my youthful past, short past came to mind, a mind now loosened by this voyage, once brick, now clay, now baked in the sun like an oven.

As I look back on this it is all fascinating, prospecting in the middle of the ocean for land, weary, then suddenly I gave an exclamation of excitement, I smelled dirt, land, soil, I could smell it, not see it, how odd I thought, am I under some delusion? God forbid. I looked over the rim of the vessel, tried to examine what I thought I smelled. Directly in front of me, my forehead nearly touching the clouds-that is when I passed out, but when I had woken up sometime near evening, my craft had scraped the dirt of an island, I was safe on land now.

I dug in once I awoke, found water, and convinced myself I was on one of the Azores-I felt crumbled and dead for the next week, but I was alive all the same. No civilizations, no cousins or mighty cities to keep me cultivated in the times, no unhappy people to look at, and no great notion to go back from where I came from. I looked back at my boat; it would become the first roof of my new home. I quickly made a spear and a small craft to stand on, and went fishing, caught a walrus of all things, with a rope attached onto the spear, and I had my first grand meal in awhile. But in reflection, I must add, my first nights on the island were sleepless, I dreamed of the trip, and as I look back now on those first dreams:I see I had kept my sea craft's nose in the wind-that was essential; the bow shifted to and fro-yes, I know that, swung from one side to the other nearly touching the water on its rim at times, I was sick most of the voyage, even wanted to die a few times. All life had gone, left me. I spoke to God, and my second mind, as I crossed this everlasting body of water, and its deep shadows. I told myself if I made it to an island, I shall never know what the others have thought, (and now as I look back, on all these years, all the better).

5

(Then as the old man stopped his contemplates, -Ramsey Cowley-he saw that a ship had settled in the bay-anchored, and several beings had disembarked, he heard a noise in the bushes, saw two of them in the far-off distance, perhaps three-hundred feet from him, he drew a revolver from his pocket, he had three bullets and before either one of the Neanderthals could grab him, and parade him up and down the streets of their metropolis, to show he was a captive, he put a bullet into his head, ruining the glorious seizer beyond repair.)

Part Two

Sylvania and the Saber Tooth

Dying, Ramey's thoughts went back to Sylvania, his one and only love, beyond being a soldier, the all powerful romance he had as a youth, beyond the inhospitalities of the world, was her devotion to him; but it was of course a childhood to early teenage romance. (There he laid, a half dozen Neanderthals looking over his last moments on earth, his last breaths, lay quiet, motionless all mauling him, wanting a trophy, fighting over his few craps of cloths. A bullet in his head, but still the heart beating, the bullet didn't penetrate the brain, but life now was being crushed out of him by the beasts-little by little.)

His readings had taught him much, but termination, it was different, practically unknown to man, and a book or the beast could not teach him, no one could teach him until that fatal moment had arrived for him to personally taste it. As a few of the Neanderthals walked about, others joined them, walking slowly around him.

He remembered Sylvania, upon the beach; they had swam like a deer, and only in their own skins (they often had done that). She had taken off on her own that day after they had swam back to the beachhead, and after a while Ramsey had heard something pacing in the jungle, and its uttering fiendish cries, and found a large glaring cat, in a most malevolent manner, in an attack mode, and Sylvania adjacent to the beast. Such saber tooth cats were not plentiful in the jungles, but the few that were there, they had eaten up many of the inhabitants of the local villages, and even attacked some of the Neanderthals, where they came from we didn't know, but they were extremely familiar to the Neanderthals, as if they had reared them and planted them, easily procure prey, to eat us, their natural fearsome neighbor, for the most part, the Neanderthals were bold and fearless when it came to the tigers and such cats, but they didn't always win the battle. But this day, I shook my head; I was going to fight it. I was puzzled on how just to kill the cat, I had only a spear, but like him, I circled around him as he did to Sylvania-mimicking him nearly if not making him dizzy or in a near trance mode which confused him, blurred his vision possibly, awaiting my moment, half concealed behind foliage, thus, I saw his yellow mane only, and he could only see me slightly, and I stalked him majestically, as he did her. It is needless to state all that I thought during these moments-I no longer have time nor ability to think so far back, or talk so long, I only have a second or two of life left in me, but the beast made a hasty retreat, fearing my attack was not predictable.

That day I was determined to die for her, I miss her now; I have missed her for half a century. She had no substitute, I'm sure she married and has grandchildren now, once I became confined to the island, there were no opportunities, or perhaps desires to leave.

"Is he not dead yet?" questioned one of the Neanderthals.

At the gesture of the leading Neanderthal, the several that were around Ramsey's body, came to a halt, a few paces from him. Then, in deep tones, more like mutters, the leader replied in a tongue not intelligible to humankind, "Stomp him to death!" (And they did.)

Notes: No: 657 (Part One "The Great Neanderthal," written: 12-31-2010). No: 658/ Part two written 1-1-2011 "Sylvania and the Saber Tooth"
Copyright © 2011 Copyright by D.L. Siluk "The World-Old"

See Dennis' web site: http://dennissiluk.tripod.com.

The Hercules Garden Water Fountain

The most admired historical feature of the Kew Gardens in England is the Hercules garden water fountain. This fountain is located at the Palm House Pond, often called Palm Pond. The water fountain was initially built so it could add humidity and beauty to the tropical greenhouse next door. This greenhouse is known as the Palm House.

Sometimes later, the designers felt that there was a need to add something extra to the fountain to make it look more outstanding. The missing element however was a statue. The Kew garden was designed and built in the 1800's. At that time the art of the Romans and Greeks were highly adored. During that time the Greek and Roman art was the only thing that was impressive and dignified enough to be placed in an English garden. 1n the year 1845, the Palm House was being constructed and this was the time the pond was also built.

The three dimensional art object of Hercules was added in 1853. He is bare in the sculpture battling with a large serpent (the Greek God Achelus). The whole sculpture is more than 6 feet in height and the name of the garden water fountain been given as "Hercules Fighting Achelus". However, it is also called "Herc".

Francis Joseph Bosio was the sculptor who created the image of Hercules in the most famous garden of England. The sculptor was French but the subject matter he worked on was Greek.

Bosio was very much into Roman and Greek myths. His work usually involved sculptures of larger bare people on horses. Other sculptures by this great sculptor include "Hyacinth awaiting His Turn to Throw the Discus" and "Cupid with a Bow". He is also well known for statues of horses and angels. Not much is known about Bosio besides his work. However, individuals who desire to add peacefulness and tranquility to their living space can also opt in for an indoor water fountain available in the market.

This article has been written by Jasmin. She is a freelance writer and loves to write on a wide range of topics including Commercial Convection Ovens and Blodgett convection oven.

Choosing the Right Name For Your Angel

Throughout pregnancy, probably, you have thought over on the best name for your baby. You have looked on the web for appealing names. And had possibly devoured so many baby book names yet you are still indecisive of what baby name you should choose.

There are things that you must regard as in choosing a baby name. Through this article, I am going to help you select the best baby name that will match your baby and they won't blame you for having such name when they grow old.

From time to time, we ask for the opinion of other people on what sort of name will suit our little angel. Choosing a name for a baby is difficult because there are a lot to choose from yet you can only pick one to three names that can be matched together but please don't put the name of your baby to for the sake of putting all 5 or 6 different names you want.

Facts in Naming Babies

1. The shorter, the easier it will be for other people to memorize his name. If you want a long name, then select a nickname connected to the original name that is easy to remember and catchy - something meaningful yet can catch the attention of anyone who will hear it.

2. You can take the name of your babies from the Bible, from historical people, and from famous people who has outdone the status quo in our society. Wouldn't it be a great prediction for a baby? You are naming her/him after great people because you wanted him/her to be great also someday.

3. If you are having a second child, why not connect the name of your baby to the first one. Wouldn't it be great to hear names of brothers and sisters that are all related to each name? At least, there is a story to tell out of their names.

4. You can also take the name of your kids from Hebrew names or from the Greek or it can be Latin or any language you prefer. Names should have significance because soon after, it will signify who we are in the world.

Before ending this, let me give you a quick list of some of the great names I know.

1. Sarah - This means the Hebrew princess. It will be wonderful for your little angel - to be named a princess.
2. Athena - the Goddess of beauty. It would be perfect for your pretty baby.
3. Emmanuel - God is with you. Sounds great for predicting a tough, god-fearing son.
4. Kysa - which means pure.
5. Awendela - which means morning - sounds like there's always a hope because of your child.

Suggested Further Reading: american boy baby names

The Kerameikos

The Kerameikos is one of the most ancient districts of Athens. The name comes from keramos meaning roof-tile; an obvious allusion to the many tilemakers' and potters' quarters established there from the earliest times.

It will be remembered that after the victory over the Persians at Plataea in 479 BC, Themistocles ordered the building of massive defense walls round Athens and the Peiraeus. At the conclusion of the Peloponnesian War (404 BC), the walls were demolished by the victorious Spartans, but were restored by Conon in 393 BC and reconstructed some sixty years later. The Roman general Sulla finally razed them in 86 BC. A section of the walls passed through the Kerameikos and divided the district into two sectors: the Inner, which included the Agora, the principal administrative and judicial buildings, and the potters' and smiths' quarters, and the Outer Kerameikos in which lay the necropolis.

The Hellenic peoples regarded the interment of the dead as one of the most sacred duties. In war, the obligation to bury the enemy dead, whether Hellene or barbarian, was equally binding. Since it was believed that the presence of corpses brought pollution to the living, bodies were either cremated or inhumed far from the city walls, usually at the side of main roads or outside the gates of the city; the evolution of the Kerameikos extra mums of the sixth century BC can be traced to the observance of that hygienic precaution. Archaeological evidence found during excavations in the area shows that the Outer Kerameikos was already in use as a burial ground as long ago as the twelfth century BC.

Turning right inside the entrance on Odhos Ermou, we follow a well-trodden path descending diagonally to the north-east and leading into the vestiges of the Sacred Way (IEPA 040E), with a moat and a corner of the Themistoclean circuit wall in front of us. Left of the Sacred Way lies the Eridanus brook. Turning right, we come to the scanty remains of the Sacred Gate.

The SACRED GATE was built into the Themistoclean wall, and consisted of a passage 35 m. long by 12 m. broad enclosed between two lateral walls. A solid wall constructed along its length divided the passage into two exits, one (south), from the Inner Kerameikos to the Sacred Way, was protected by a high wall that joined the defensive towers flanking the structure; the other, (north), served as an outlet to the Eridanus, then a swiftly flowing stream crossing the Kerameikos along a vaulted artificial water-course. An arch, sole visible relic of the archaic hydraulic installation, still spans the brook.

Leaving the Sacred Gate, we pass through a narrow opening in the forewall that stands on the other side of the brook, continuing the line of the Themistoclean circuit wall. Immediately before us is a low stretch of ruined wall, all that remains of the polygonal wall of Conon. Keeping our course we come to the first boundary stone, bearing a perpendicular inscription oros Kerameikou. We can now trace to our right the remains of the Dipylon, that is, the Double Gate.

The DIPYLON was also part of the city circuit wall. It was built during the second half of the fourth century BC as a larger and stronger successor to the Dipylon of Themistocles; this latter gate was erected in the previous century on the site of an even earlier dipylon which was known as the Thriasian Gate. The Dipylon was the largest and most frequented of the eight city gates of Athens, and the starting point of three roads: one southwards to the Peiraeus, another westwards to Eleusis, while the third, barely a mile in length, led northwards to the Academy of Plato on the River Kiphissos. An unusual feature of the Dipylon was the double entrance, consisting of an outer and an inner gate (hence the name), with connecting walls enclosing an oblong court measuring 41 m. in length by 22 m. in breadth. Each of the gates, which were fitted with stout doors that were closed during an emergency, had two openings divided by a central pier to allow for the simultaneous passage of two carriages.

Because of its great importance, the Dipylon was exceptionally well fortified. Protected by massive walls terminating in huge square corner towers reinforced by salients, two flanking the outer, two the inner gate, and with supplementary defenses in the ingenious utilization of the space between the gates, it was virtually impregnable. Should enemy troops be successful in overcoming the resistance of the defenders at the outer gate and penetrate the interior of the building, they would find themselves trapped within the restricted confines of the courtyard. There, surrounded on all sides, they would be at the mercy of a second body of defenders strongly entrenched behind thick ramparts.

Standing at the Dipylon and facing northwest, we can see traces of the road that led to Plato's Academy stretching before us. On our right is a large rectangular stepped base for the support of a monument that stood in front of the central pier of the outer gate. Further right, directly opposite the central pier of the inner gate, are the remains of a circular altar bearing a dedicatory inscription to Zeus Herkeios (protector of walled enclosures), to Hermes (god of roads and gateways), and to Acamas (tribal hero of the Kerameikos).

On the left lie the remains of the Pompeion (from the Greek pompi, that is, a solemn procession), built of poros in about 400 BC. Though designed primarily as a gymnasium, it later served other purposes; for example, as center for the distribution of food in time of need. The Pompeion was the favorite meeting-place of philosophers, and on its walls were portraits of some of their number; a statue of Socrates, the work of Lysippus, also stood there. Its principal functionn however, was that of storehouse for the heavy vehicles and other properties employed on the occasion of the religious processions of the Panathenaea and the Great Eleusinia, and also as the place of assembly for those participating in them.

The POMPEION measured 55 m. in length by 30 m. in breadth, and consisted of a court surrounded by columns, thirteen along the sides and six at the ends. The propylon, which stood opposite the inner gate of the Dipylon, consisted of two columns between side walls, with an entrance for pedestrians on either side of the central passage. The ruts left by the passage of vehicles, the holes drilled for the fittings of the gates, and the furrows scored by opening and closing them are still visible in the paving. The Pompeion was destroyed during Sulla's siege of Athens in 86 BC.

Facing the ruins of the Pompeion are the remains of the Pompeion of Hadrian, a structure erected during the second century AD, and razed by the barbarian Heruli, a Teutonic tribe originating in Jutland, in AD 267. The Pompeion of the Roman period was smaller than its predecessor and was built on a different plan.

In front of the Dipylon is the starting point of the stately AVENUE OF THE ACADEMY that in antiquity led to the Academy of Plato but today lies buried outside the present area of excavation. From the time of Solon (640-558 BC), a state burial along this Avenue was the highest award that could be granted to those who had rendered signal service, military or political, to the city. The Avenue of the Academy was lined on both sides with imposing funerary monuments erected by the State, either memorials in honor of outstanding individuals, or polyandreia for the burial of groups of warriors who had died in battle, or again cenotaphia, that is, empty tombs raised as memorials to those who had also lost their lives in the service of the city but whose bodies were either buried elsewhere or could not be found for interment.

Proceeding down the Avenue we pass between the remains of walls and monuments and at the end of the paved section we turn left down a slight slope. This path leads to the Tomb of the Lacedaemonians (just below the church of Aghia Triada), and the second boundary stone. The tomb is divided into three compartments and contained the skeleton of thirteen Spartans who were killed during the heavy fighting at the Peiraeus in 403 BC, when Thrasybulus overthrew the Thirty Tyrants. Among the marble blocks of the monument, on which were inscribed the names of the fallen, is one recording the deaths of the two polemarchs, Chaeron and Thibrachus, mentioned by Xenophon who, with the Olympic victor Lactates, were buried in the Kerameikos. This block of marble can be seen inside the Museum.
Amid the many ruins and ill-defined paths that cover the present area of excavation the easiest course is to retrace our steps from the Tomb of the Lacedaemonians as far as the Sacred Gate. Just before we reach the foundations of a small sanctuary, so far unidentified, that lies about 45 meters from the Sacred Gate, the ancient road branches off to the right. We proceed along this road, which runs parallel to the course of the Eridanus and leads us to the family grave terraces below the church of Aghia Triada.

The wealthy were usually buried in family plots, separately walled and adorned with stelai and sculpture. The extant funerary monuments, the majority of which date from the fourth century BC, are of various types: plain pillar, or palmette anthemion stelai; columns, sometimes surmounted by a device, or the representation of an animal; lekythoi and loutrophoroi, large vases marking the graves of those who died unmarried; trapezai, that is, tombs in the form of chests, with table-like tops; naiskoi, temple-like shrines, or chapels, in which sculptured reliefs or paintings were set in deep frames with pediments; sarcophagoi, marble tombslabs; and cippi, small undecorated columns customarily placed over the graves of slaves.

The following itinerary takes us to the tombs on the Sacred Way, the Street of Tombs, and the cross-street rising off it to the south. The more interesting funerary monuments are numbered in the order in which it is proposed to visit them.

The graves on the SACRED WAY are to be seen along the section of the road that lies below the church of Aghia Triada. After the ruins of a large unidentified tomb we come to the once painted stele of Antidossis; the lekythos of Aristomache, with a small relief. Passing through a narrow opening between these monuments, we come to a grave terrace, on which stands, the loutrophoros of Olympichos and farther away , the grave tumulus of Eucoline. The fine relief depicts a family group of two women, a man and a gentle little girl. The latter is shown holding a pet bird in her hand, while a tiny dog, standing on its hindlegs, begs for her attention. The graceful attitudes of the female figures and the playfulness of the dog are rendered in masterly fashion.

We now descend from this monument and turn right, following a path below the grave terrace. This brings us to the STREET OF TOMBS, where the majority of funerary monuments are to be seen. On the north (right) side: stele of Phanocles of Leucone; stele of Philocrates of Kydhathinaion; the trapeza of Hipparete (c. 350 BC), granddaughter of the ill-starred Alcibiades; stele of Menes, with a relief representing him on horseback; pillar stele of Samakion. Family plot of Koroibos of Melite; in the center of a group of three funerary monuments stands: Koroibos' own stele; on the left, that of his wife Hegeso, represented seated, examining a necklace she has taken from the trinket-box her maid is holding out for her inspection. This is a cast (the original is in the National Archaeological Museum) of the famous stele that has inspired many painters and poets. On the right of the stele of Koroibos is, the loutrophoros, in relief, of Kleidemos, his grandson. Family plot of Eubios of Potamos: the stele, with palmette anthemion and relief of Eubios' sister Euphrosyne. The deceased, seated near her brother, gives her hand to her nephew Bion; a small Doric column, once crowned by a loutrophoros, marks the tomb of Bion. On the right of this last memorial is an unidentified naiskos. We now turn at the retaining wall to the funerary monuments on the opposite (south) side.

Grave plot of Nicostrate and Kephisodoros. Family plot of the Archon Lysimachides of Acharnai. The tomb, in polygonal masonry, comprises: an ex-voto representing two couples seated at a funeral meal in the lower world, and below, Charon in his boat on the Styx; a huge Molossian hound, one of two acroteria that guarded the corners of the tomb; the second (18), the badly mutilated statue of a lion, is hidden by the ex-voto already mentioned. Family plot of the treasurer Dionysius of Kollytos (c. 345-317 BC), the tombstone, in the form of a small trapeza, marks the grave of one Melis of Melite; a large empty naiskos for a painting, probably of the deceased, stands against a tall pillar supporting, a majestic bull in Pentelic marble, the most arresting piece of sculpture in the necropolis. This animal was doubtless chosen to adorn the treasurer's tomb, not only because Dionysus is sometimes portrayed in the form of a bull, but also because the name of the deceased (Dionysius) is almost synonymous with that of the god (Dionysus). Family plot of the brothers Agathon and Sosicrates of Heraclea on the Pontus. Here stand, the once painted naiskos of Agathon; a high relief representing a touching scene of parting, executed with the dignity and restraint inherent in Greek art.

Korallion, wife of Agathon, grasps her husband's hand in farewell. At the center stands a second male figure while in the background, behind the seated figure of Korallion, a second woman's profile can be seen. On the left is a broken lekythos, with a relief depicting another scene of parting. We now come to the family plot of Lysanias of Thorikos; here are the remains of the impressive precinct of Lysanias' twenty-year old son Dexileos, one of the five knights killed in battle in 394 BC, during the Corinthian War. Although Dexileos, together with his fellow-cavalrymen, was given a state funeral and buried in the public sector of the cemetery, Lysanias erected this cenotaph as his own private tribute to his son. The monument, which stood upon a massive base of conglomerate, consists of a splendid marble relief in Pentelic marble, crowned by a pediment, representing Dexileos riding down a fallen enemy warrior (this is a cast; the original can be seen in the Museum). As was the custom in antiquity the group was painted, while the victor's lance and the bridle of his steed (both now lost) were of bronze. This relief, reminiscent of St. George killing the Dragon, is one of the many examples that show the influence of Classical art on Byzantine iconography. On the base of the relief is the inscription: "Dexileos, son of Lysanias of Thorikos, was born in the archonship of Teisandros (414 BC), and died in that of Eubolides (394 BC) in Corinth, one of five Knights".

On the front of the precinct stand two pillar stelai: the taller, crowned with a palmette anthemion, honors the memory of Dexileos' brother Lysias; the other, with a pediment and rosettes, that of their sister Melitta. Three other tombs, all trapezai, have been found within the precinct. Only one, however, can be positively identified; this, is inscribed with the names of Lysanias, another of Dexileos' brothers, his wife Kallistrate, and their son Kalliphanes.

After the precinct of Dexileos, the line of family plots is broken by a narrow path that climbs up to the grave terrace, and, tomb of Hieronymus, a famous actor who lived about 270 BC. Behind this tomb is the tomb of Macareus, another actor famed in antiquity.

In the angle formed by the junction of the Sacred Way and the Street of Tombs is the rectangular Sanctuary of the Tritopatreis (Ancestral Gods). That this sanctuary, sacred to the worship of ancestors and the cult of the family, is of great antiquity, is attested by an archaic inscription cut into a stone built into the wall of the court.

Just beyond the Tritopatreion, but on the opposite side of the Street of Tombs, two stelai are in situ: the first, a broad pillar stele with a pediment, is that of Thersandros and Simylus, envoys from the island of Kerkyra (Corfu), who died in Athens in 375 BC. The other, built on a lower level, is that of Pythagoras, proxenos (consul) of Athens at Selymbria in Thrace.

Leaving these stelai, we turn left into the Southern Way. Here, on the right, is the grave terrace of the sisters Pamphile and Demetria (c. 350 BC), with, the tombstone of Dorcas of Sicyon; a large naiskos framing, one of the most beautiful funerary reliefs of the fourth century, in which Pamphile is represented seated, with Demetria. To the right of this fine piece of sculpture is, the base of the stele of Demetria (now in the National Archaeological Museum), and behind it stands, the loutrophoros of Hegetor, with a small relief depicting a scene of farewell; then, the inscribed stele of Glykera, and the trapeza of another Demetria. Next to the plot of Pamphile and Demetria is that of Philoxenos of Messine, which includes, in a line, three trapezai, upon which stand remains of the bases of the lekythoi of Parthenios and Dion, and the stele of Philoxenos, their father; the statue (now headless) of Philoxenos' wife, and the cippi of some of their slaves.

From the grave terrace of Pamphile and Demetria, a path leads direct to the temenos of Hecate, gray goddess of night and the nether world, which lies in the open space between the grove below the Museum and the back of the Street of Tombs. Here, the remains of a hearth altar, in which a relief showing a scene of sacrifice, above a dedication to Artemis-Hecate, is set into the north side. A stone omphalos, or navel, stands between the eschara and a niche, built in brick. This latter held the triangular statue of the triple Hecate, (now in the National Archaeological Museum), for this sinister deity, patroness of ghosts and witchcraft, who also haunted crossroads and graveyards, was usually represented by three identical figures of the goddess, standing back to back, each with its special attributes: torches, keys, swords, lances, dogs, and snakes.

To the south, in the grove below the Museum, lies the post-Classical cemetery, in which the only grave-markers worthy of note are the triangular pillar of Sosibios of Sounion standing on a low mound and, an unusually tall pillar stele, inscribed with a list of names.

This list of memorials enumerated is merely a small selection from the vast number found during excavation; many others have been removed to the safety of the Kerameikos and National Archaeological Museums. With the exception of the tombs of the actors Hieronumus and Macareus and of course, the stelai and other funerary marbles described are anterior to 310 BC, when the sumptuary laws of Demetrius Phalereus prohibited large expenditure on private tombs. Henceforth, it was decreed, only trapezai (simple commemorative tablets), and kioniskoi, that is, truncated columns with a moulding to keep a wreath or fillet in place, were to be permitted. The result is to be seen in the dreary collection of stone cylinders, varying greatly in size, arranged near the entrance to the Museum.

During the more than three thousand years of its existence the Kerameikos has many times been devastated and countless tombs plundered and destroyed. With the advent of Christianity much of the statuary was smashed by religious fanatics. Later the cemetery gradually fell into disuse and served as a dumping ground for rubbish, so that in 1862, when the Greek Archaeological Society undertook the first excavations, the once-glorious Kerameikos lay buried beneath the accumulated refuse of the centuries. In 1913, after a period of fruitful collaboration between Greek and German Archaeologists, it was decided to entrust future excavation of the area to the German Archaeological Institute of Athens which continues its mission ever since.

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