Cult of the reptile god maps

Juan Gabriel - With Your Love

1The area that is the object of this research corresponds to the Quito Plateau in the Province of Pichincha-Ecuador and more specifically to the Metropolitan District of Quito. The Meseta de Quito is part of the Hoya del Guayllabamba. To the north, it is bordered by the Mojanda-Cajas junction and to the south by the Tiopullo junction, to the west by the Pichincha, which is part of the Western Cordillera and which in turn is made up of three volcanic elevations: the Guagua Pichincha, the Rucu Pichincha and the Cóndor Guachana. To the east are the volcanoes Cayambe, Cerro Puntas, Ilaló, Antisana and Cotopaxi, and to the west are the valleys of Cumbayá, Tumbaco, Los Chillos and Machachi.

2From the geological point of view, the Quaternary volcanism of the inter-Andean alley resulted in the formation of cangahua and fluvio-lacustrine sediments that fill large depressions such as the Quito-Guayllabamba basin and have modeled the characteristic landscape of the Ecuadorian Sierra (Alvarado Cevallos, 1996: 9).

3The city of San Francisco de Quito is located in the narrowest part of the Meseta and in the foothills of the Pichincha Massif. To the east, it is bordered by a series of hills such as Puengasí, Guanguiltagua and Itchimbía, which are separated by ravines as a result of the fault system of the inter-Andean alley. To the south it extends to the Tambillo sector and to the north towards Pomasqui-San Antonio. The terrain is irregular with altitudes ranging from 2,850 to 3,100 meters above sea level (IGM, 1992: 6). There are a series of drainages from the Pichincha and Atacazo rivers, the most important being the Machangara River and its tributary the Grande River that runs from south to north, as well as some deep gorges with intermittent streams that can flood during the winter, some of which carry water coming down from the Pichincha to the east. Most of these carry gold, pyrites and alluvial calcopyrites (Alvarado Cevallos, 1966: 11).

Víctor Manuelle - Que Suenen los Tambores (Official Video)

Thanks to a study of supra-regional interactions between four capitals of the Mexican Altiplano, sites of the Gulf Coast and the Maya zone during the Epiclassic period (600 to 900 A.D.), several hypotheses on a possible paradigmatic change of political order during this period can be presented. Analyzed thanks to a specific methodology, certain material vestiges (movable and immovable artifacts, iconographic corpus) are confronted with the theories of types of political action documented in Mesoamerica, and produce a convergent set of clues. In the context of ideological, social and political changes at the end of Teotihuacán, the new elites of these cities, in intermittent contact with those of distant societies, exercised their power by relying on the glorification of individuals, the exacerbation of military force and the prestige acquired through these distant interactions.

Through the study of supraregional interactions among four capitals of the Mexican highlands, and sites of the Gulf coast and Maya area during the Epiclassic period (AD 600 to 900), several hypotheses may be proposed concerning a possible shift in political paradigm at that time. Analyzed with a specific methodology, portable and non-portable material artifacts and associated iconographic corpus, are discussed in terms of theories bearing on political action documented in Mesoamerica resulting in convergent lines of evidence. Within a context of ideological, social and political disruptions following the end of Teotihuacán, new elites of these cities in sporadic contact with those of distant societies exerted their power thanks to glorification of persons, exacerbation of military force and prestige acquired through distant interactions.

Joey Montana - Unique

Abarbanel in his commentary to the Torah says textually: "the word Time is missing and it is as if the text had said: "In the beginning of time God created the heavens and the earth". Abarbanel continues commenting: "I made you see with your own eyes (the reader) different comments that can derive from the use of the word Bereshit, all clear for the one who understands and straight for those who find knowledge in the literal understanding of the text and I wish I could know what the intention of the Master (Maimonides) has been in his commentary". With these words Abarbanel displays before us with surprising intellectual modesty his respect for the various and varied interpretative positions, while at the same time declaring himself almost unable to understand Maimonides' position on the matter.

The author of Karné-Or commenting in turn on Ibn Hezra says: "Time began to exist only with movement since movement and time are simultaneous...and the time that existed before "one day" the first day of creation was fulfilled, were mere instants and moments, that is, time not measured but existing from the moment that there is creation, becoming."

La Energia Norteña - The Love Of My Life (Official Video)

The Altar of the gens Augusta is a Roman sacrificial altar dedicated to the imperial cult, discovered on the slope of the Byrsa hill, within the archaeological site of Carthage and preserved in the National Museum of the Bardo, in the so-called Carthage Room that occupies the ancient courtyard of the Beylical palace.

In the mid-20th century, Jean Charbonneaux considered the work to be a fine example of Roman folk art, for "the clarity and naive simplicity" that characterized it, [1] all the more important since "few monumental reliefs from the century of Augustus have survived."[2] The work was also considered by Jean Charbonneaux to be a fine example of Roman folk art.

The temple of the gens Augusta, composed of three rooms measuring two by three meters, was found on September 17, 1912 in the garden of Charles Saumagne's property, near the post office and not far from the apses known as Beulé's.[8] It contains, in particular, an inscription.[9] The Ara Pacis, inaugurated in 1912, was found on September 17, 1912.

The Ara Pacis, inaugurated in 9 B.C., is the "most complete monument of Augustan art":[38] the role of Aeneas, the foundation of Rome, the protection of Apollo enjoyed by the emperor are particularly recalled in this building. The altar of the gens Augusta is proof of the refounding of Carthage by Augustus, and of the diffusion of the themes defined in Rome in the Ara Pacis. Although "more modest in ambition and workmanship," the work is one of the many testimonies "of the budding imperial religion."[39] The works are of Greek or Italic inspiration, but what is new is the theme and the iconographic program used, which "imposes itself on the whole Empire."[38]