Derrick @D32404 - Twitter Profile

@thevenomsite Did we loose the plot.. 1. why is carnage W Eddie 2. Why is venom Gold and w/o Eddie 3. WHO resurrected Knull , I though Eddie was the next step finalized

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no context college football

@nocontextcfb

5 months ago

https://t.co/hEEO75U0Q5

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Hoosiers Connect

@HoosiersConnect

5 months ago

Lil Uzi Vert. Hoosier.

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⚚Sage

@belikesagee

5 months ago

i really hope this year is good to my mom.

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Derrick @D32404

5 months ago

@bearbubb @thegameawards You get it, literally all three 😪

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Archaeo - Histories

@archeohistories

6 months ago

The portrait of the two brothers, dating to approximately 140 AD in Roman Egypt, a stunning example of the famous Fayum mummy portraits. These lifelike paintings represent a unique cultural fusion where the ancient Egyptian tradition of mummification was combined with the Greco-Roman artistic technique of realistic portraiture. Unlike the stylized faces on earlier Egyptian coffins, these panels—painted on wood using the durable and vibrant encaustic technique (pigments mixed with hot beeswax)—captured the true likenesses of the deceased, offering us the most accurate visual record of the people who inhabited this cosmopolitan Roman province nearly two millennia ago. This particular piece, often known as the "Tondo of the Two Brothers" (due to its circular, or tondo, shape), was discovered in Antinoöpolis, a city founded by Emperor Hadrian. The subjects are shown wearing Roman-style tunics and cloaks, illustrating their status as members of the wealthy, Greco-Egyptian elite who adopted Roman fashion. The portrait's power lies in its blending of cultures: while the style is highly Roman, the painting's purpose was purely Egyptian—it was attached over the face of the mummified body, essentially replacing the traditional mummy mask and serving as the face of the deceased for eternity. The work also includes small statues of deities above their shoulders (possibly Hermes-Anubis and Antinous-Osiris), further cementing the syncretism of Roman, Greek, and Egyptian beliefs. Tondo provides rich social and historical detail. The differences in their clothing, skin tone, and facial hair suggest an older and a younger man, supporting the traditional identification as brothers. The man on the viewer's left is often shown wearing a white tunic with a purple border and a shoulder decoration that may be a swastika symbol (used widely in antiquity to represent prosperity or fertility). However, the closeness and unique composition have led some modern scholars to propose they may have been lovers rather than siblings, reflecting the social complexities of Roman society. Today, this iconic work is housed in the Egyptian Museum in Cairo, where it stands as a celebrated masterpiece of both Roman portraiture and funerary art. #archaeohistories

archeohistories's tweet photo. The portrait of the two brothers, dating to approximately 140 AD in Roman Egypt, a stunning example of the famous Fayum mummy portraits. These lifelike paintings represent a unique cultural fusion where the ancient Egyptian tradition of mummification was combined with the Greco-Roman artistic technique of realistic portraiture. Unlike the stylized faces on earlier Egyptian coffins, these panels—painted on wood using the durable and vibrant encaustic technique (pigments mixed with hot beeswax)—captured the true likenesses of the deceased, offering us the most accurate visual record of the people who inhabited this cosmopolitan Roman province nearly two millennia ago.

This particular piece, often known as the "Tondo of the Two Brothers" (due to its circular, or tondo, shape), was discovered in Antinoöpolis, a city founded by Emperor Hadrian. The subjects are shown wearing Roman-style tunics and cloaks, illustrating their status as members of the wealthy, Greco-Egyptian elite who adopted Roman fashion. The portrait's power lies in its blending of cultures: while the style is highly Roman, the painting's purpose was purely Egyptian—it was attached over the face of the mummified body, essentially replacing the traditional mummy mask and serving as the face of the deceased for eternity. The work also includes small statues of deities above their shoulders (possibly Hermes-Anubis and Antinous-Osiris), further cementing the syncretism of Roman, Greek, and Egyptian beliefs.

Tondo provides rich social and historical detail. The differences in their clothing, skin tone, and facial hair suggest an older and a younger man, supporting the traditional identification as brothers. The man on the viewer's left is often shown wearing a white tunic with a purple border and a shoulder decoration that may be a swastika symbol (used widely in antiquity to represent prosperity or fertility). However, the closeness and unique composition have led some modern scholars to propose they may have been lovers rather than siblings, reflecting the social complexities of Roman society. Today, this iconic work is housed in the Egyptian Museum in Cairo, where it stands as a celebrated masterpiece of both Roman portraiture and funerary art.

#archaeohistories

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Derrick @D32404

7 months ago

@readabook_ng Hi

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Derrick @D32404

7 months ago

@Donaldspkicaic @wydlamar There’s an AI one where she burst through the window but it’s not this one

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Derrick @D32404

8 months ago

KARYN KUSAMA GIVE IT TO ME PLEASE THIS IS EVERYTHING TO ME

DiscussingFilm

@DiscussingFilm

8 months ago

Karyn Kusama reveals a script for ‘JENNIFER’S BODY 2’ is now in the works. “I’m not going to give anything away, but it sounds fun and crazy like the first film” (Source: Deadline)