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The Artistic and Cultural History of Tarot, from Renaissance Italy to Modern Day | WNYC

Tarot cards hold a specific place in society, popular for their divination imagery and fortune-telling.

Conceived in two parts, this double-gallery exhibition explores the origins of Tarot in Renaissance Italy and its ongoing relevance as a sou

Tarot show in NYC. The Morgan Library

[you-are-another-me]

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study is lifelong. and after it.

[blondebrainpowered]

The Open Book Fountain is a fountain of an open book with water used at regular intervals to give the illusion of a page being turned. Located at Egyetem Square (Egyetem tér), Budapest.

Created in 2012 by artist Kelecsenyi Gergely and engineer Jozsef Szita.

[mossdftba]

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Books change lives.

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What If Humans Kept Evolving? #Evolution #Humanity #Science #Shorts https://search.app/vSRKb

What If Humans Kept Evolving? #Evolution #Humanity #Science #Shorts

What will humans look like in the future? From stronger bodies to bigger brains, or maybe even merging with machines. Human evolution is far

Welcome to the Future. We can engineer our evolution.

[portalibis]

Nicolas Flamel remains one of the most enigmatic figures in the history of alchemy. Born around 1330, he lived in Paris as a scribe and bookseller. During his lifetime, he was not known as an alchemist, and there is no clear historical evidence that he practiced alchemy at all. However, after his death in 1418, his reputation changed dramatically, and he became a legendary figure associated with the secrets of transformation and the philosopher’s stone. Central to this legend is the work attributed to him, Le Livre des figures hiéroglyphiques, published in 1612 nearly two centuries after his death. The book claims to describe a series of symbolic images allegedly created between 1399 and 1413 for the Cemetery of the Innocents in Paris and the arch of Saint-Jacques-de-la-Boucherie. According to the text, these images formed a carefully structured sequence of around twenty-one or twenty-two figures, each representing stages of the alchemical process. What makes the work especially fascinating is its absence of originals. The actual images, if they ever existed, have been lost possibly destroyed along with the cemetery in 1786. What remains are only Flamel’s descriptions, later accompanied by reconstructed engravings based on his words. This gap between image and text contributes to the aura of mystery surrounding both the work and its supposed author. The authenticity of these writings is widely debated. Since the text appeared long after Flamel’s lifetime and no contemporary sources confirm his involvement in alchemy, many historians consider the attribution doubtful. However, regardless of its true origin, the book had a profound influence. It helped shape the symbolic language of later alchemical traditions, particularly through its blending of Christian imagery with alchemical transformation suggesting that spiritual salvation and material transmutation might reflect the same hidden process. Art: Modern coin with the alchemist of the 14th century Nicholas Flamel from the Lithuanian Mint, the author of Miroslav Hric

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I love this stuff!...

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https://www.nytimes.com/2026/02/26/arts/design/noguchi-new-york-city-museum.html?unlocked_article_code=1.PVA.TnnL._xhacBfkxbtr&smid=url-share

[ymutate]

Ernst Schieron (German)

Stuttgart Central Station, 1929

photograph

Cleveland Museum of Art

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This is like Bauhaus photography.

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Imagine holding a beautifully carved crystal object that was tossed by ancient hands over two millennia ago to seek chance or wisdom.... 

This remarkable 20‑sided crystal die known from the Roman and Hellenistic world. This small icosahedron, now preserved in major museum collections, offers a rare glimpse into how ancient people combined mathematics, belief, and play in objects we once thought were only part of modern gaming culture.

Archaeologists have uncovered several polyhedral dice from the ancient Mediterranean, especially from Egyptian and Roman contexts, dating as far back as the Ptolemaic and Roman periods between 2nd Century BC and 4th Century AD. Among the most fascinating are 20‑sided dice (icosahedra) carved from stone, serpentinite, faience, or even rock crystal. At the Musée du Louvre and Metropolitan Museum of Art, such dice show faces inscribed with letters or numerals — clues that they were not just decorative but carried a purpose in everyday life or ritual.

[afineandprivateplace-deactivate]

Temple of god Khenoum -Esna - Egypt By By Montyshot

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Khnum, also romanised Khnemu (/kəˈnuːm/; Ancient Egyptian: 𓎸𓅱𓀭 ẖnmw, Koine Greek: Χνοῦβις Chnoûbis),[citation needed] was one of the earliest-known Egyptian deities in Upper Egypt, originally associated with the Nile cataract. He held the responsibility of regulating the annual inundation of the river, emanating from the caverns of Hapi, the deity embodying the flood. Since the annual flooding of the Nile brought with it silt and clay, and its water brought life to its surroundings, he eventually became known as the creator of human bodies and the life force kꜣ ("ka"). Using a potter's wheel and clay, he fashioned these entities and placed them within their mothers' wombs. Often, his creative endeavors were overseen by another god. He was later described as having moulded the other deities, and was revered as the creator of the animal kingdom.[1][2][3] Banebdjedet was the equivalent god in Lower Egypt.[4]

Khnum - Wikipedia

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True wealth.

[theancientwayoflife]

~ Head of Aphrodite of the Capitoline type.

Culture/Period: Roman, Imperial Period

Date: ca. A.D. 2nd century (after a Hellenistic Greek type)

Place of origin: Italy, Lazio

Medium: Marble, Dolomitic from the Greek island of Thasos, top of head completed in Calcitic marble probably from Mt. Pentelikon near Athens.

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Let the goddess speak!

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Scientists mimicking the Big Bang accidentally turn lead into gold

The physicists made an unexpected breakthrough

Alchemy achieved!

[algol666]

another look at Lucifer…..

(etching by James Barry for Paradise Lost )

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lucifer exultant

[thrillkk]

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The darkening

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Ritual of The Anchor

It wasn't a great day—one of those days where the world seems determined to throw sand in the gears of the machine, you understand? Everything felt fractured, hurried, and the sacred geometry of my routine was completely askew. I was trying to force a complex meditation, the kind that demands absolute focus, and frankly, I was failing miserably. My mind was buzzing like a hive.

I finally just gave up on the formal structure. I went out into my little garden, just as the last hints of twilight were fading, and I saw a simple, rough river stone I had picked up years ago near a running stream. It had always felt cool and heavy in my hand.

I didn't try to invoke any names or draw any complex sigils. I just sat down on the steps, closed my eyes, and performed what I later called the Ritual of the Anchor.

I held the stone, feeling its weight—not thinking about what it represented, but just acknowledging that this was a constant, solid thing in a shifting world.

I took three deep, slow breaths, and with each exhale, I mentally pushed all the day's noise and agitation down my arms and into that cool stone. I imagined the stone absorbing the heat and friction.

Then, I simply held it until the cool of the stone felt like it was moving back into me, settling the frantic pulse of my spirit.

That's it. No robes, no candles, no ancient words. Just me, a stone, and the intention to find stillness. It didn't solve my worldly problems, but it restored the center. It reminded me that the greatest temple is the body itself, and the most effective magic is often the simplest act of self-recalibration.

The great structures and the detailed ceremonies have their place, but don't ever underestimate the power of finding the sacred in the mundane object and the honest, quiet moment.

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🧭 Find Your True North

You've noticed it already, haven't you? Sometimes the path, be it the checkered pavement of the Temple or the hidden lanes of the spirit, feels mighty loud. You'll hear the clamor from every quarter—folks telling you what kind of Mason/Magus you should be, which symbols are "essential," and what grand rites truly "count" as genuine.

But allow me to share a simple truth, a secret I've found etched in the quiet of the midnight hours and the stillness of the chamber:

Your Great Work, your own personal journey, doesn't need to be a blazing spectacle for the world to see. It doesn't need to look impressive to be utterly real.

It only needs to feel honest and resonate truly within your own breast.

Light that single candle not because a book told you to, but because the gentle, steady flame quiets the turbulence within you.

Focus not on the volume of the Ritual, the working, but the sincerity of the intent.

Pull one card, the one that speaks plainly to your heart's question, rather than shuffling through a whole spread of confusion. Speak your prayer to the GAOT on your walk home—that is a communion as profound as any formal ritual.

That, my young brother, is enough. It is more than enough.

If these words find you today, know this: you are doing fine. You are exactly where you are meant to be.

We who seek the light—not with a shout, but with a deep, private hum—we understand. I write for the builders, the quiet practitioners, the ones who know that the most powerful magic is built stone by careful, honest stone.