The resemblance with Caracalla (that you posted recently) is rather clear. The key difference is the nose...
statue of Julia Domna
...but that's easy to explain once you see Julia Domna (Severius' wife and Caracalla's mother).
There's also a cool representation of the whole family here: A portrait of Severius and Julia Domna with their children Caracalla and Geta. One of the children's faces is erased.
Note that there are two children there, likely Geta and Caracalla; one of their faces is erased, and there are signs that excrement was smeared over it. Both brothers hated each other's guts. (It's hard to know which was the one with the face erased, but it's generally believed that it's Geta - with Caracalla doing [or ordering someone to do it] after murdering his brother.)
When Camillus took over command, Veii was under siege, and the Veientines had already destroyed a large quantity of siege equipment prepared by the Romans. In order to break into the city, the Romans dug a tunnel through the soft tufa rock on which the city was built.
Livy describes the scene with the Veientines holed up in their city, the main Roman force encamped outside and a second force set to attack from within via the tunnel. ...
Relying on the superior size of the Roman army, Camillus attacked the city on all sides. The intent of Camillus' attack was to distract the Veientines from the mine by forcing their soldiers to defend the walls.
The Veientines wondered "what had happened to make the Romans, after never stirring from their lines for so many days, now run recklessly up to the walls as though struck with sudden frenzy".[2]
As the unsuspecting Veientines rushed to defend their walls from the sudden attack of the Roman army, picked Roman troops emerged from the entrance of the tunnel inside the temple of Juno. They quickly overwhelmed the Veientines and began a general massacre. As the fighting slackened, Camillus gave orders to spare the unarmed who began to surrender as the soldiers gathered loot.
... The survivors were enslaved. The city was subsequently repopulated by Romans. This destruction of the Etruscan stronghold secured Rome's growing place in central Italy.
Although the use of war elephants in the western Mediterranean is most famously associated with the wars between Carthage and Roman Republic, the introduction of war elephants there was primarily the result of an invasion by Hellenistic era Epirus across the Adriatic Sea. King Pyrrhus of Epirus brought twenty elephants to attack Roman Italy at the battle of Heraclea in 280 BC, leaving some fifty additional animals, on loan from Ptolemaic Pharaoh Ptolemy II, on the mainland. The Romans were unprepared for fighting elephants, and the Epirot forces routed the Romans. The next year, the Epirots again deployed a similar force of elephants, attacking the Romans at the battle of Asculum. This time the Romans came prepared with flammable weapons and anti-elephant devices: these were ox-drawn wagons, equipped with long spikes to wound the elephants, pots of fire to scare them, and accompanying screening troops who would hurl javelins at the elephants to drive them away. A final charge of Epirot elephants won the day again, but this time Pyrrhus had suffered very heavy casualties – a Pyrrhic victory.
...
The use of war elephants over the centuries has left a deep cultural legacy in many countries. Many traditional war games incorporate war elephants. There is piece in chess called Elephant. While Englishmen call that piece bishop, it is called Gajam in Sanskrit. In Malayalam, it is called Aana (ആന), meaning elephant. In Russian, too, it is an elephant (Слон). In Bengali, the bishop is called hati, Bengali for "elephant". It is called an elephant in Chinese chess. In Arabic – and derived from it, in Spanish – the bishop piece is called al-fil, Arabic for "elephant".
The bishop-equivalent in shogi (Japanese chess) is 角行, "angle-mover". (Which is odd because none of the other pieces are so mechanically named; rooks, for example, are 飛車, "flying chariot".)
There are shogi variants that have elephant pieces, but they don't move like bishops.
Jim Fitzpatrick is the artist, possibly most famous for doing several Thin Lizzy album sleeves. A cropped and desaturated version of this picture appeared on the cover of Darkthrone's album The Underground Resistance.
Personally I'm of the opinion that educating in traditional African history and culture is the single most effective strategy we have for combatting racism in the long term. In many ways it's still a great mystery to the average westerner, which gives room for old racist narratives to take root and strengthen. People just don't know much about African technological advances, African historical writing, etc.
Certainly! I was in middle school... fuck, almost two decades ago now, but I remember our social studies course having a dedicated section for medieval African history (I lived in a very liberal state with a good education system, thank god), and just having that sparked a lifelong interest. Learning about the silent trade, the Mali Empire, tifinagh... it opened up a whole new world of history to preteen me.
The ones with the same name are just different angles or minor variations - some, like the adungu, are different sizes of the same (nominal) instrument.
While it's not impossible that they're slaves, slaves were a relatively small proportion of laborers in the Roman economy. And even then, most slaves were employed in agriculture, mining, and domestic servitude, not productive urban labor. It's generally pretty accepted anymore that the Roman economy was a market economy in which wage labor was normal and widespread.
Saddles ? Werent Saddles invented long after the establishment of the French Nation ? So Gallic Warriors in France would have already succumbed to the French Royal conquests.
The invention of the screw would change the oil industry forever. It reduced the manpower needed and replaced much of the manpower with ox driven mills. It would also herald one of the first anti technology slogans: "Got screwed out of my job"
For sharing illustrations of history
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