Forwarded from TARTARIA HISPANICA
🇪🇸 Pieterburen, Holanda
Una "iglesia" SIN cruz
Quizás estos edificios llamados ahora iglesias y catedrales antes eran usados con otros fines, como captar energía del éter, en lugar de amontonar creyentes para rezar a un ser imaginario y autoculparse por todo y contarle sus errores a un tipo vestido con un vestido largo negro.
Ahora todos estos edificios tienen una cruz. Es bastante probable que antes tuvieran antenas como la que se ve en estas imágenes, y ninguna cruz. Ni señores con vestidos largos recopiladores de los errores de la gente.
🇬🇧 Pieterburen, The Netherlands
A "church" WITHOUT a cross
Perhaps these buildings now called churches and cathedrals used to be used for other purposes, such as harnessing energy from the ether, instead of piling up believers to pray to an imaginary being and blame themselves for everything and tell their mistakes to a guy dressed in a long black dress.
Now all these buildings have a cross. It is quite likely that they used to have antennas like the one seen in these images, and no cross. Nor gentlemen in long dresses who collect people's mistakes.
Join us
@TARTARIA The Netherlands 🇳🇱
Únete 🇪🇸&🇬🇧 Join
@TARTARIA HISPANICA
@TARTARIA in my CITY 🏰
Una "iglesia" SIN cruz
Quizás estos edificios llamados ahora iglesias y catedrales antes eran usados con otros fines, como captar energía del éter, en lugar de amontonar creyentes para rezar a un ser imaginario y autoculparse por todo y contarle sus errores a un tipo vestido con un vestido largo negro.
Ahora todos estos edificios tienen una cruz. Es bastante probable que antes tuvieran antenas como la que se ve en estas imágenes, y ninguna cruz. Ni señores con vestidos largos recopiladores de los errores de la gente.
🇬🇧 Pieterburen, The Netherlands
A "church" WITHOUT a cross
Perhaps these buildings now called churches and cathedrals used to be used for other purposes, such as harnessing energy from the ether, instead of piling up believers to pray to an imaginary being and blame themselves for everything and tell their mistakes to a guy dressed in a long black dress.
Now all these buildings have a cross. It is quite likely that they used to have antennas like the one seen in these images, and no cross. Nor gentlemen in long dresses who collect people's mistakes.
Join us
@TARTARIA The Netherlands 🇳🇱
Únete 🇪🇸&🇬🇧 Join
@TARTARIA HISPANICA
@TARTARIA in my CITY 🏰
Forwarded from Electroculture farming (E T)
@Electroculturefarming
https://plantsurge.com/?ref=Etan
Stack Plantsurge with Electroculture to achieve amazing results !
https://sherpa-life.com
https://plantsurge.com/?ref=Etan
Stack Plantsurge with Electroculture to achieve amazing results !
https://sherpa-life.com
Forwarded from TARTARIA HISPANICA
🇪🇸 Maqueta de la Roma Imperial, siglo IV d.C.
El Museo de la Civilización Romana alberga una de las maquetas más impresionantes de la ciudad jamás construidas.
Conocida como el Plastico di Roma Imperiale, fue creada por el arqueólogo italiano Italo Gismondi, que tardó más de 35 años en acabarlo.
Se derivó de la Forma Urbis Romae, tiene una escala de 1:250 y está hecho de yeso.
🇬🇧 Model of Imperial Rome, 4th century A.D.
The Museum of Roman Civilization houses one of the most impressive models of the city ever built.
Known as the Plastico di Roma Imperiale, it was created by the Italian archaeologist Italo Gismondi, who took more than 35 years to finish it.
It was derived from the Forma Urbis Romae, has a scale of 1:250 and is made of plaster.
Join us
@Antworten Aus Dem Universum 🇩🇪
Únete 🇪🇸&🇬🇧 Join
@TARTARIA HISPANICA
@TARTARIA in my CITY 🏰
El Museo de la Civilización Romana alberga una de las maquetas más impresionantes de la ciudad jamás construidas.
Conocida como el Plastico di Roma Imperiale, fue creada por el arqueólogo italiano Italo Gismondi, que tardó más de 35 años en acabarlo.
Se derivó de la Forma Urbis Romae, tiene una escala de 1:250 y está hecho de yeso.
🇬🇧 Model of Imperial Rome, 4th century A.D.
The Museum of Roman Civilization houses one of the most impressive models of the city ever built.
Known as the Plastico di Roma Imperiale, it was created by the Italian archaeologist Italo Gismondi, who took more than 35 years to finish it.
It was derived from the Forma Urbis Romae, has a scale of 1:250 and is made of plaster.
Join us
@Antworten Aus Dem Universum 🇩🇪
Únete 🇪🇸&🇬🇧 Join
@TARTARIA HISPANICA
@TARTARIA in my CITY 🏰
Forwarded from TARTARIA HISPANICA
🇪🇸 Muchos capítulos de nuestra historia han sido eliminados deliberadamente
Esta carta proviene de un juego llamado Minchiate, un juego de cartas de principios del siglo XVI. En ella se puede ver el Gran Imperio Tártaro.
Gracias a las profundidades de Internet y a los dedicados investigadores, podemos reconstruir los fragmentos de la historia borrada.
Puede que nunca sepamos toda la verdad, pero podemos salvar y preservar lo que encontremos.
🇬🇧 Many chapters of our history has been deliberately removed
This card come from a game called Minchiate, it is a card game from the early 16th century.
On this card you see a glimpse of the Grand Tartarian Empire.
Thanks to the depths of the internet and devoted researchers, we can piece together the fragments of our erased history.
We may never know the whole truth but we can save and preserve what we find.
Join us
@The Doctors TARDIS 🇬🇧
Únete 🇪🇸&🇬🇧 Join
@TARTARIA HISPANICA
@TARTARIA in my CITY 🏰
Esta carta proviene de un juego llamado Minchiate, un juego de cartas de principios del siglo XVI. En ella se puede ver el Gran Imperio Tártaro.
Gracias a las profundidades de Internet y a los dedicados investigadores, podemos reconstruir los fragmentos de la historia borrada.
Puede que nunca sepamos toda la verdad, pero podemos salvar y preservar lo que encontremos.
🇬🇧 Many chapters of our history has been deliberately removed
This card come from a game called Minchiate, it is a card game from the early 16th century.
On this card you see a glimpse of the Grand Tartarian Empire.
Thanks to the depths of the internet and devoted researchers, we can piece together the fragments of our erased history.
We may never know the whole truth but we can save and preserve what we find.
Join us
@The Doctors TARDIS 🇬🇧
Únete 🇪🇸&🇬🇧 Join
@TARTARIA HISPANICA
@TARTARIA in my CITY 🏰
Forwarded from Slavic World
Bronisław Piłsudski (1866-1918) was a Polish ethnographer specialising in the Nivkh, Oroks and Ainu.
The younger brother of Józef Piłsudski was arrested by the Tsarist police in 1887 and sentenced to 15 years of forced labour on Sakhalin. There he initially had to do hard physical labour, but soon became a teacher and met Lev Yakovlevich Sternberg, who introduced him to ethnography. In 1902, he was commissioned by the Imperial Russian Academy of Sciences to collect ethnographic artefacts on Sakhalin. In the Ainu village of Ai, he married Chuhsamma, the niece of the chief.
After the Russo-Japanese War in 1906, he went to Japan, where he met Shimei Futabatei and founded the Japanese-Polish Society. He was befriended by Ōkuma Shigenobu, Futabatei Shimei, Torii Ryūzō and Katayama Sen, among others.
He returned to Poland in 1906, while his wife and children remained in Japan. Several descendants of Bronisław Piłsudski currently live in Japan.
👉Slavic World
The younger brother of Józef Piłsudski was arrested by the Tsarist police in 1887 and sentenced to 15 years of forced labour on Sakhalin. There he initially had to do hard physical labour, but soon became a teacher and met Lev Yakovlevich Sternberg, who introduced him to ethnography. In 1902, he was commissioned by the Imperial Russian Academy of Sciences to collect ethnographic artefacts on Sakhalin. In the Ainu village of Ai, he married Chuhsamma, the niece of the chief.
After the Russo-Japanese War in 1906, he went to Japan, where he met Shimei Futabatei and founded the Japanese-Polish Society. He was befriended by Ōkuma Shigenobu, Futabatei Shimei, Torii Ryūzō and Katayama Sen, among others.
He returned to Poland in 1906, while his wife and children remained in Japan. Several descendants of Bronisław Piłsudski currently live in Japan.
👉Slavic World
Forwarded from TARTARIA HISPANICA
🇪🇸 Descubriendo a la guardiana de Egipto
La Esfinge estaba enterrada totalmente bajo la arena, menos su rostro, despejada al comienzo del siglo XIX.
Estas fotografías dan testimonio del proceso de excavación llevado a cabo desde entonces, así como de los templos y catacumbas sepultados de alrededor.
Se tiene constancia de que, al menos, la Esfinge se ha desenterrado de la arena en tres ocasiones, la última en 1925.
🇬🇧 Discovering the Guardian of Egypt
The Sphinx was completely buried under the sand, except for her face, cleared at the beginning of the nineteenth century.
These photographs testify to the excavation process carried out since then, as well as the buried temples and catacombs around.
It is recorded that, at least, the Sphinx has been unearthed from the sand on three occasions, the last one in 1925.
Join us
@Notre Mystérieuse Histoire.. 🇫🇷
Únete 🇪🇸&🇬🇧 Join
@TARTARIA HISPANICA
@TARTARIA in my CITY 🏰
La Esfinge estaba enterrada totalmente bajo la arena, menos su rostro, despejada al comienzo del siglo XIX.
Estas fotografías dan testimonio del proceso de excavación llevado a cabo desde entonces, así como de los templos y catacumbas sepultados de alrededor.
Se tiene constancia de que, al menos, la Esfinge se ha desenterrado de la arena en tres ocasiones, la última en 1925.
🇬🇧 Discovering the Guardian of Egypt
The Sphinx was completely buried under the sand, except for her face, cleared at the beginning of the nineteenth century.
These photographs testify to the excavation process carried out since then, as well as the buried temples and catacombs around.
It is recorded that, at least, the Sphinx has been unearthed from the sand on three occasions, the last one in 1925.
Join us
@Notre Mystérieuse Histoire.. 🇫🇷
Únete 🇪🇸&🇬🇧 Join
@TARTARIA HISPANICA
@TARTARIA in my CITY 🏰