Forwarded from Historia Occulta
The Spiralist Who Watched the Body Turn
James Bell Pettigrew spent his life studying movement. Not in theory, but in detail—how birds flew, how fish swam, how the heart twisted as it beat. What he found, again and again, was that life did not move in straight lines. It turned. Always in spirals.
He mapped the fibers of the heart and found them coiled. He watched flight and saw that wings did not flap—they described curves through air. Even the arteries followed this logic, winding through the body with quiet precision. The spiral, to Pettigrew, wasn’t decoration. It was the form that life chose when it needed to move with power and grace.
He published volumes of observations, filled with illustrations that captured what machines still struggle to imitate. He wasn’t reaching for mysticism. He was writing down what he saw, and what he saw was this: the living world turns.
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James Bell Pettigrew spent his life studying movement. Not in theory, but in detail—how birds flew, how fish swam, how the heart twisted as it beat. What he found, again and again, was that life did not move in straight lines. It turned. Always in spirals.
He mapped the fibers of the heart and found them coiled. He watched flight and saw that wings did not flap—they described curves through air. Even the arteries followed this logic, winding through the body with quiet precision. The spiral, to Pettigrew, wasn’t decoration. It was the form that life chose when it needed to move with power and grace.
He published volumes of observations, filled with illustrations that captured what machines still struggle to imitate. He wasn’t reaching for mysticism. He was writing down what he saw, and what he saw was this: the living world turns.
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Forwarded from TARTARIA HISPANICA
🇬🇧 Hildegard Didn’t Imagine Her Visions—She Recorded Them
Hildegard von Bingen never claimed authorship of her visions. She called herself a “feather on the breath of God,” not in humility, but accuracy. What she saw came in full light—clear, constant, and unasked for. From childhood, they arrived with force. By middle age, she could no longer remain silent.
The Scivias, her first major work, wasn’t poetry or theology in the usual sense. It was a transmission. Twenty-six visions, vast in scope, depicting not just heaven and earth but the very structure of reality—cosmic, medicinal, elemental. And alongside them: music, language, remedies. Not fragments of genius, but parts of a whole.
Later scholars tried to fit her into categories: mystic, composer, herbalist, proto-feminist. But those are shadows compared to what she actually was—someone attuned to patterns most people couldn’t perceive, and disciplined enough to write them down with clarity.
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Hildegard von Bingen never claimed authorship of her visions. She called herself a “feather on the breath of God,” not in humility, but accuracy. What she saw came in full light—clear, constant, and unasked for. From childhood, they arrived with force. By middle age, she could no longer remain silent.
The Scivias, her first major work, wasn’t poetry or theology in the usual sense. It was a transmission. Twenty-six visions, vast in scope, depicting not just heaven and earth but the very structure of reality—cosmic, medicinal, elemental. And alongside them: music, language, remedies. Not fragments of genius, but parts of a whole.
Later scholars tried to fit her into categories: mystic, composer, herbalist, proto-feminist. But those are shadows compared to what she actually was—someone attuned to patterns most people couldn’t perceive, and disciplined enough to write them down with clarity.
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Forwarded from IO SONO ANIMA - sentiero di consapevolezza 🐬✨🕉 (Iara)
Uovo di Pasqua "Rosebud", 1895. Azienda di Carl Fabergé, maestro Mikhail Perkhin.
Museo Fabergé
La creazione annuale di preziose uova di Pasqua con sorprese uniche per i Romanov richiedeva ai maestri artigiani della ditta Fabergé una grande immaginazione.
Uno dei primi Easter egg con sorpresa meccanica è l'uovo Rosebud, donato dall'imperatore Nicola II alla moglie, l'imperatrice Alessandra Feodorovna, per Pasqua nel 1895.
La sorpresa dell'uovo, ricoperto di smalto rosso su sfondo guilloché, è un bocciolo di rosa tea su uno stelo corto, dotato di un meccanismo: i petali si aprono quando si preme un piccolo pulsante sullo stelo.
All'interno era posta una corona di diamanti in miniatura con rubini cabochon (andati perduti nel tempo). La rosa, simbolo dell'amore, così come le frecce dorate di Cupido che ornavano l'uovo, indicavano chiaramente i sentimenti di Nicola II per la sua "dolce cara Alix".
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Museo Fabergé
La creazione annuale di preziose uova di Pasqua con sorprese uniche per i Romanov richiedeva ai maestri artigiani della ditta Fabergé una grande immaginazione.
Uno dei primi Easter egg con sorpresa meccanica è l'uovo Rosebud, donato dall'imperatore Nicola II alla moglie, l'imperatrice Alessandra Feodorovna, per Pasqua nel 1895.
La sorpresa dell'uovo, ricoperto di smalto rosso su sfondo guilloché, è un bocciolo di rosa tea su uno stelo corto, dotato di un meccanismo: i petali si aprono quando si preme un piccolo pulsante sullo stelo.
All'interno era posta una corona di diamanti in miniatura con rubini cabochon (andati perduti nel tempo). La rosa, simbolo dell'amore, così come le frecce dorate di Cupido che ornavano l'uovo, indicavano chiaramente i sentimenti di Nicola II per la sua "dolce cara Alix".
✨✨✨🙏✨✨✨
https://tttttt.me/ioanima
https://tttttt.me/galliactica
https://tttttt.me/orgoniteitalia
@TARTARIAthetruth
https://tttttt.me/tartariabrazil
https://tttttt.me/Du_Labyrinthe_aux_Hypotheses
https://tttttt.me/TARTARIAITALIACHANNEL
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Forwarded from TARTARIA HISPANICA
🇬🇧 Dying without realizing it
"He who becomes a slave to habit dies slowly, repeating the same ways every day... he who makes television his guru dies slowly...
He dies slowly who does not travel, who does not read, who does not listen to music, who does not think about grace in itself, dies slowly who destroys his self-love, dies slowly who does not allow himself to be helped, who spends his days complaining about his bad luck or the incessant rain.
Let's avoid death in gentle proportions, always remembering that being alive requires a greater effort than the simple fact of making it breathe..."
Pablo Neruda
Gracias Miriám
@TARTARIA HISPANICA
@TARTARIA in my CITY 🏰
"He who becomes a slave to habit dies slowly, repeating the same ways every day... he who makes television his guru dies slowly...
He dies slowly who does not travel, who does not read, who does not listen to music, who does not think about grace in itself, dies slowly who destroys his self-love, dies slowly who does not allow himself to be helped, who spends his days complaining about his bad luck or the incessant rain.
Let's avoid death in gentle proportions, always remembering that being alive requires a greater effort than the simple fact of making it breathe..."
Pablo Neruda
Gracias Miriám
@TARTARIA HISPANICA
@TARTARIA in my CITY 🏰
👍17💯9❤1👎1
Forwarded from Tartaria & History Channel (Jeanne Roman)
An olive tree's secret to "immortality" lies in its ability to continuously sprout new shoots from an ancient root system, allowing the tree to persist even if the above-ground parts are damaged or die.
In ancient Greece, the olive tree was considered sacred and was associated with Athena, the goddess of wisdom and warfare. Olive oil played a significant role in the ancient Greek economy and society and was used for both culinary and religious purposes.
The Athenians even had a law that required citizens to plant a certain number of olive trees each year.
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In ancient Greece, the olive tree was considered sacred and was associated with Athena, the goddess of wisdom and warfare. Olive oil played a significant role in the ancient Greek economy and society and was used for both culinary and religious purposes.
The Athenians even had a law that required citizens to plant a certain number of olive trees each year.
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Forwarded from Tartaria & History Channel (Jeanne Roman)
Mephistopheles and Margaretta – The World’s Most Famous Double Sculpture
Mephistopheles and Margaretta is a wooden "double sculpture" of two characters from Johann Wolfgang von Goethe's 1808 play Faust. The life-size sculpture depicts the haughty, evil Mephistopheles back to back with the gentle, meek looking, Margaretta.
The sculpture is carved out of a single log of sycamore wood and has two distinct images on either side. Created in the 19th century by an unknown French artist, it's among the most photographed pieces of art in the collection.
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Mephistopheles and Margaretta is a wooden "double sculpture" of two characters from Johann Wolfgang von Goethe's 1808 play Faust. The life-size sculpture depicts the haughty, evil Mephistopheles back to back with the gentle, meek looking, Margaretta.
The sculpture is carved out of a single log of sycamore wood and has two distinct images on either side. Created in the 19th century by an unknown French artist, it's among the most photographed pieces of art in the collection.
Partnership with @EARTHSEEDERS
Join us now
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