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Timeo danaos et dona ferentes

The Trojan Horse is a crafty contraption that allowed the Greeks to put an end to the 10-year-old Trojan War. The wily Greek hero Odysseus conceived the project and design for the Trojan Horse; Epeus, is credited with the actual building of the Trojan Horse.

The Greeks left a giant wooden object made to look like a horse at the Trojan city gates. Some of the Greeks pretended to sail away, but actually sailed just out of sight. The other Greeks stood waiting, inside the belly of the wooden beast.

When the Trojans saw the giant wooden horse and the departing Greek troops, they thought the wooden horse was a parting gift for the gods, so most of them wanted to wheel it into their city. The decision to move the Trojan Horse into the city was opposed by Cassandra, the prophetess whose fate was never to be believed, and Laocoon, who was destroyed, along with his two sons, by sea serpents after pleading with his fellow Trojans to leave the Trojan Horse outside their city walls. The Trojans took this as a sign that the gods were displeased with Laocoon's message. Besides, the Trojans preferred to believe that since the Greeks were gone, the long war was over. The city opened the gates, let the horse in, and celebrated riotously. When the Trojans passed out or fell asleep, the Greeks climbed down from the belly of the Trojan Horse, opened the city gates and ushered the rest of the troops into the city. The Greeks then sacked, destroyed, and burned Troy.

 

Reino : Animalia

Filo : Arthropoda

Classe : Insecta

Ordem : Lepidoptera

Superfamília : Bombycoidea

Família : Saturniidae

Subfamília : Ceratocampinae

Gênero : Citheronia laocoon (Cramer, 1777)

Ciclo a partir de : 25 dias

Planta hospedeira : Goiabeira, mamona, assa-peixe, roseira, etc.

Local : Pedro Leopoldo, MG.

The Citheronia laocoon moth is a member of the Saturniidae family and found from the Guianas south to northern Argentina. This one is captive bred.

 

Thanks for your visit… Any comment you make on my photograph is greatly appreciated and encouraging! But please do not use this image without permission.

Fantastic marble statue of 'Laocoon and his sons' (Roman version of a lost Greek original) by Baccio Bandinelli (Firenze 1493-1560)

This photo was taken in the Uffizi Gallery

The Uffizi Gallery is another must-stop if you visit Florence. Located in the heart of the historic district at Piazzale degli Uffizi, Firenze.

The Citheronia laocoon moth is a member of the Saturniidae family and found from the Guianas south to northern Argentina. This fresh male is captive bred.

 

Thanks for your visit… Any comment you make on my photograph is greatly appreciated and encouraging! But please do not use this image without permission.

Sony ILCE 3000 + Helios 44M-4 58mm f/2.0 MC

Rio de Janeiro - Brasil

The Nike of Samothrace, discovered in 1863, is estimated to have been created around 190 BC. It was created to not only honor the goddess, Nike, but to honor a sea battle. It conveys a sense of action and triumph as well as portraying artful flowing drapery through its features which the Greeks considered ideal beauty.

Modern excavations suggest that the Victory occupied a niche in an open-air theater and also suggest it accompanied an altar that was within view of the ship monument of Demetrius I Poliorcetes (337-283 BC). Rendered in white Parian marble, the figure originally formed part of the Samothrace temple complex dedicated to the Great Gods, Megaloi Theoi. It stood on a rostral pedestal of gray marble from Lartos representing the prow of a ship (most likely a trihemiolia), and represents the goddess as she descends from the skies to the triumphant fleet. Before she lost her arms, which have never been recovered, Nike's right arm was raised, cupped round her mouth to deliver the shout of Victory. The work is notable for its convincing rendering of a pose where violent motion and sudden stillness meet, for its graceful balance and for the rendering of the figure's draped garments, compellingly depicted as if rippling in a strong sea breeze. Similar traits can be seen in the Laocoön group which is a reworked copy of a lost original that was likely close both in time and place of origin to Nike, but while Laocoon, vastly admired by Renaissance and classicist artists, has come to be seen[by whom?] as a more self-conscious and contrived work, Nike of Samothrace is seen as an iconic depiction of triumphant spirit and of the divine momentarily coming face to face with man. It is possible, however, that the power of the work is enhanced by the very fact that the head and arms are missing.

The statue’s outstretched right wing is a symmetric plaster version of the original left one. As with the arms, the figure's head has never been found, but various other fragments have since been found: in 1950, a team led by Karl Lehmann unearthed the missing right hand of the Louvre's Winged Victory. The fingerless hand had slid out of sight under a large rock, near where the statue had originally stood; on the return trip home, Dr Phyllis Williams Lehmann identified the tip of the Goddess's ring finger and her thumb in a storage drawer at the Kunsthistorisches Museum, Vienna, where the second Winged Victory is displayed; the fragments have been reunited with the hand, which is now in a glass case in the Louvre next to the podium on which the statue stands.

I Found it! what a relief.. just a few more to go. solid

Laocoön

Vatican Museum

"This statue group was found in 1506 on the Esquiline Hill in Rome and immediately identified as the Laocoön described by Pliny the Elder as a masterpiece of the sculptors of Rhodes. The story is that during the Trojan War, Laocoön, a priest of Apollo in the city of Troy, warned his fellow Trojans against taking in the wooden horse left by the Greeks outside the city gates. Athena and Poseidon, who were favouring the Greeks, sent two great sea-serpents which have wrapped their coils around Laocoön and his two sons and are killing them. From the Roman point of view, the death of these innocents was crucial to the decision of Aeneas, who heeded Laocoön's warning, to flee Troy, and this led to the eventual founding of Rome. Such an important sculpture could not escape the notice of Pope Julius II (1503-1513) who bought it immediately and had it displayed in the Statues Courtyard (Cortile delle Statue), making it the centrepiece of the collection. There has been much debate over the date of the statue, which would seem to have been made around 40-30 B.C." (museum description).

Canon EF 50mm f/1.4 USM

©2012 Patrick J Bayens

Mixed Media painting by

Diane Marie Kramer

aka She Wolf

completed 2012- Feb.

2’ w x 3’ h

view it in the light box www.flickr.com/photos/25386365@N06/6949305607/lightbox/

OR view it large www.flickr.com/photos/25386365@N06/6949305607/sizes/o/in/...

 

photo by Michael Schaefer

 

Laocoon and her two sons

Pressured storm, tried to move

No other more, emotion bound

Martyred, misconstrued

 

REM lyric

 

www.youtube.com/watch?v=iOEl8YQoSro

Saint Petersburg, Russia. State Hermitage Museum

Reino : Animalia

Filo : Arthropoda

Classe : Insecta

Ordem : Lepidoptera

Superfamília : Bombycoidea

Família : Saturniidae

Subfamília : ceratocampinae

Gênero : Citheronia laocoon (Cramer, 1777)

Ciclo a partir de :

Planta hospedeira : Goiabeira, mamona, assa-peixe, roseira, etc.

Reino : Animalia

Filo : Arthropoda

Classe : Insecta

Ordem : Lepidoptera

Superfamília : Bombycoidea

Família : Saturniidae

Subfamília : ceratocampinae

Gênero : Citheronia laocoon (Cramer, 1777)

Ciclo a partir de :

Planta hospedeira : Goiabeira, mamona, assa-peixe, roseira, etc.

Regal moth caterpillar / lagarta

Laocoön and His Sons.

Vatican City.

Reino : Animalia

Filo : Arthropoda

Classe : Insecta

Ordem : Lepidoptera

Superfamília : Bombycoidea

Família : Saturniidae

Subfamília : Ceratocampinae

Gênero : Citheronia

Espécie : laocoon

Citação : Cramer, 1777

Ciclo a partir de : 25 dias

Planta hospedeira : Goiabeira, mamona, assa-peixe, roseira, etc.

Local : Pedro Leopoldo, MG.

Dome of Sala Rotonda, round hall that imitates the Pantheon, lined with ancient statues of emperors and gods

Le palais des grands maîtres à Rhodes, est une impressionnante forteresse bâtie au XIVème siècle sur le site d'un ancien temple consacré à Hélios, dieu du soleil. Ce palais, entouré de murailles, servait également d'abri à la population en cas de danger. La porte principale du palais, rue des Chevaliers, est encadrée par deux tours en forme de fer à cheval. La cour centrale, autour de laquelle s'articule le palais, est longue de 50m, large de 40 m et décorée de dalles géométriques en marbre. Les plus belles salles du palais sont : - La salle des neuf muses : abritant une mosaïque de l'époque hellénistique ; - La salle des colonnes : contient de superbes mosaïques datant du Vème siècle ; - La salle de la Méduse : abrite une mosaïque datant de la fin de l'époque hellénistique représentant la Gorgone mythologique avec sa chevelure de serpents. On peut également y observer des vases chinois et islamiques ; Autre élément à voir : la statue du hall dans laquelle on voit Troyen Laocoon et ses fils dans une représentation de l'angoisse de l'être humain face aux forces de la nature. Une grande explosion détruisit le palais en 1856.

Laocoon group (copy). Museo de Reproducciones, Bilbao, Spain

“Barberini Faun”.

Ancient Greek.

From Asia Minor.

Marble.

Glyptothek,

OK, some more information about this unique work of art

 

We see here a satyr reposing on a rock, called the “Barberini Faun”.

The frequently used baroque description “faun” (a Roman deer god) is a misunderstanding as it actually is a satyr.

Satyrs are mythological companions of the god of wine, Dionysos. Male creatures with beastly features. They have pointed ears (that are largely hidden because of the luxuriant hair) and a small horsetail (here visible behind the left thighbone).

All these features however are secondary here. The sculpture is completely dominated by its physique. A powerful young man in such a provocative erotic pose can be only a satyr, who

after a dancing party and excessive drinking exhaustedly settles on a rock. His clothes ( a panther skin) are taken off already.

 

The sculpture was discovered around 1625 in Rome, near the tomb of Roman Emperor Hadrian, the Castel SantÁngelo.

During the discovery Urban VIII (a member of the Barberini family) was elected pope.

He decided to claim the sculpture as his family property. This explains the name of the sculpture.

It’s a marble Greek original from Asian Minor, from where it was transported to Rome.

After the discovery in the twenties of the 17th century the sculpture was exhibited in the Palazzo Barberini during 150 years, where it was revered as one of the highlights of the collection of antiquities.

Inheritance quarrels made the Barberini family decide in 1799 to sell the sculpture. And this is how it could happen that the Roman sculptor and art dealer Vincenzo Pacetti became the new owner. He paid 4.000 scudi for it and replaced the during the discovery already missing limbs ( the right leg and the left arm), hoping that a restored piece of antiquity would make him a rich man.

Indeed the British made him an offer of 13.000 scudi, but the French authorities prevented the deal. Later on the British offered the sum of 20.000 scudi, but then the pope refused the agree with an export of this art treasure. In the meantime Pacetti was already 11 years the rightful owner of the faun statue. But then the Barberini family suddenly wanted their once owned sculpture back. Two sons, heirs of the Barberini fortune, used their mighty names to press the police to remove the sculpture and bring it to the Baberini palace, where it was exhibited again. Of course Pacetti went to Court against the Barberini family. A legal battle between a local sculptor and a family - that had a pope and many cardinals among their ancestors - ended as bad as could be expected. In the end the judge granted the eldest Barberini son the ownership of the faun sculpture. This Barberini descendant did not hesitate to sell “his” faun for the sum of 8.000 scudi to the crown prince of Bavaria, Ludwig who was to become King Ludwig I of Bavaria.

This transaction was surrounded by secrecy: Bavaria was during this deal in war with Napoleon, and it was important to prevent public amazement about this purchase. So the faun was transported on a low profile basis to the studio of the sculptor Thorvaldsen.

In the meantime Pacetti felt deeply deceived by the Barberini family and the local police.

He succeeded to find influential personalities – like the famous sculptor Canova – who shared his anger and were pleased to give him moral support. Only moments before the faun was to be send to Bavaria, the statue was seized and transported to the Vatican.

Ludwig of Bavaria was told that pope Urban VIII had decreed some 200 years earlier that the faun sculpture never was to be sold.

Al kind of compromises were sought to keep friendly relations with Ludwig. He was invited to chose some other statues in the Vatican collections as compensation, but Ludwig refused.

In the meantime Napoleon had fled from Elba and the pope had to find another city for personal safety. Bavaria found it self in war again with France.

After the capture of Paris by the superpowers the art treasures, stolen by Napoleon, were returned to Rome and the Vatican received its famous “Apollo of Belvedere” and the “Laocoon Group” back. In vain Ludwig argued that this return was partly thanks to him.

His argument was nevertheless correct, and this is why, after some time, the Barberini Faun

was brought to Ludwig’s apartments in Rome. It needed 64 men and I suppose a lot of sweat.

This memorable event happened August 10, 1816. Again there was a set back. It was stipulated that this sculpture was never to leave the city of Rome.

Eventually a sister of Ludwig has brought the solution. She happened to be the empress of Austria. During a visit to Rome she decided to visit the pope. So far so good. During her audience she asked frankly for an export licence for the Barberini faun of her brother.

The pope promised his kind attention to the matter. Some time later indeed the export permission was granted, such as we may assume with great reluctance.

It was November 6, 1819 now. During the Twelfth night festivities of 1820 the Barberini Faun was given a warm welcome in Munich, where it embellishes the stupendous art collections of the Glyptothek ever since.

(With thanks to C.H. Beck- Glyptothek München - Meisterwerke Griechischer und Römischer Skulptur)

 

(Information in Dutch: )

 

De Barbarini Faun.

 

We zien hier een satyr afgebeeld. De barokke aanduiding “faun” (een Romeinse hertengod) wordt weliswaar stelselmatig voor dit beeld gebruikt, maar berust eigenlijk op een misverstand. Satyrs, mythologische begeleiders van de wijngod Dionysos, zijn mannelijke wezens met licht dierlijke trekjes. Ze hebben spitse oren (die bij dit beeld goeddeels verborgen gaan onder de weelderige haardos) en een kleine paardenstaart (bij dit beeld zichtbaar achter het linker dijbeen).

Al deze kenmerken zijn echter bij dit beeld ondergeschikt. Het beeld wordt geheel beheerst door de lichaamshouding. Een krachtige jongeman in zo’n bijna provocerend erotische houding kan eigenlijk alleen maar een satyr zijn, die - na zich te hebben uitgeleefd in dans en uitgebreide offerandes aan Bacchus - afgemat op een rots is neergestreken. Tevoren heeft hij zijn kleding (een panterhuid) uitgetrokken.

 

Het beeld werd rond 1625 in Rome gevonden, niet ver van het graf van de Romeinse keizer Hadrianus, de Engelenburcht.

In die tijd van de ontdekking was Urbanus VIII, uit het huis Barberini, paus.

Hij verklaarde het beeld tot zijn eigen familiebezit. Vandaar de naam van het beeld.

Het beeld is een Grieks origineel. Uit Klein Azië is het marmer afkomstig.

Van daaruit werd het beeld naar Rome versleept.

Na de ontdekking in de twintiger jaren van de 17e eeuw heeft het beeld ruim 150 jaar tentoongesteld gestaan in het Palazzo Barberini in Rome, waar het alom werd bewonderd.

In 1799 waren er erfenistwisten rond de Barberini boedel, en zo kon het gebeuren dat het beeld nog datzelfde jaar voor 4.000 scudi werd verkocht. Koper was de beeldhouwer en kunsthandelaar Vincenzo Pacetti.

Hij verving de ten tijde van de ontdekking al ontbrekende lichaamsdelen (rechter been en linker arm). Pacetti deed dit zonder twijfel om het beeld voor meer geld te kunnen doorverkopen. Dit leek ook te gaan lukken toen de Engelsen korte tijd later 13.000 scudi voor het inmiddels gerestaureerde beeld boden. De Franse overheid verhinderde echter deze deal. Later boden de Engelsen zelfs 20.000 scudi, maar toen verbood de paus de uitvoer.

Ook Lucien Bonaparte, die in Napels resideerde, toonde belangstelling voor de satyr.

Inmiddels was Pacetti 11 jaar de rechtmatige eigenaar van het beeld. Maar toen was er weer eens geruzie over de Barbarini bezittingen. Twee Barberini zonen bevochten het vermogen, en wisten onder valse voorwendsels en met gebruikmaking van hun machtige naam de politie zo ver te krijgen het beeld (zonder enige schadeloosstelling) bij de eigenaar weg te halen en weer in het Palazzo Barberini onder te brengen. Pacetti stapte naar de rechter, maar wat moest een kleine beeldhouwer tegen de Barberini familie, die een paus en talloze kardinalen had voortgebracht? Na een in 3 instanties gevoerde civiele procedure werd het beeld toegewezen aan de oudste Barberini telg. Deze verkocht het beeld kort daarna voor 8.000 scudi aan kroonprins Ludwig von Bayern, de latere Koning Ludwig I.

Deze transactie geschiedde onder strikte geheimhouding en met haast. Ondertussen verkeerde namelijk ook Beieren op voet van oorlog met Napoleon. De aankoop mocht in Rome dan ook geen opzien baren. Het beeld werd zo geruisloos mogelijk naar het atelier van Thorvaldsen overgebracht. Maar toen dreigde het mis te gaan. De met recht verbitterde Pacetti, die zich door de Barberini familie en de politie bedrogen voelde, wist invloedrijke persoonlijkheden

-waaronder de beeldhouwer Canova- voor zijn zaak te winnen, en ook de plaatselijke politie nu aan zijn kant te krijgen. Het beeld, dat al ingepakt klaar stond om naar Beieren te worden verzonden, werd in beslag genomen en naar het Vaticaan overgebracht. Als argument werd aangevoerd dat Paus Urbanus VIII tweehonderd jaar eerder had vastgelegd dat het beeld nooit verkocht mocht worden.

Er werden talloze compromissen gezocht. Zo mocht Ludwig in plaats van de satyr een paar andere beelden uit de kunstcollectie van het Vaticaan uitzoeken. Ludwig weigerde.

Intussen was Napoleon uit Elba gevlucht en de paus moest opnieuw Rome ontvluchten.

Beieren was weer in oorlog met Frankrijk. Na de inname van Parijs door de grootmachten keerden door Napoleon geroofde kunstschatten terug naar Rome, en het Vaticaan kreeg zijn Apollo van Belvedere en de Laocoongroep terug. Tevergeefs wees Ludwig op zijn inzet daarvoor. Hij bereikte er wel mee dat de satyr op 10 augustus 1816 door 64 dragers in zijn Romeinse verblijf werd binnengedragen. Maar het beeld mocht de stad Rome niet verlaten.

Uiteindelijk heeft een zus van Ludwig voor een oplossing gezorgd. Zij was keizerin van Oostenrijk, en heeft gedurende een bezoek aan Rome tijdens een audiëntie bij de paus een uitvoervergunning voor het beeld bepleit. Een welwillend onderzoek werd hierop toegezegd.

Tandenknarsend heeft de pauselijke regering uiteindelijk toegegeven en zo kon het beeld op 6 november 1819 de lange reis naar Beieren aanvaarden om tijdens het Driekoningenfeest van 1820 in München zijn feestelijke intrede te doen.

(tekst ontleend aan C.H. Beck- Glyptothek München - Meisterwerke Griechischer und Römischer Skulptur)

 

FRANCESCO HAYEZ

Laocoon 1812

Regal moth caterpillar / lagarta

This statue group was found in 1506 on the Esquiline Hill in Rome and immediately identified as the Laocoon described by Pliny the Elder as a masterpiece of the sculptors of Rhodes. The story is that during the Trojan War, Laocoon, a priest of Apollo in the city of Troy, warned his fellow Trojans against taking in the wooden horse left by the Greeks, outside the city gates. Athena and Poseidon, who were favoruing the Greeks, sent two great sea-serpents which have wrapped their coils around Laocoon and his two sons and are killing them. From the Roman point of view, the death of these innocents was crucial to the decision of Aeneas, who heeded Laocoon's warning, to flee Troy, and this led to the eventual founding of Rome. Such an important sculpture could not escape the notice of Pope Julius II (1503-1513) who bought it immediately and had it displayed in the Statues Courtyard (Cortile delle Statue), making it the centrepiece of the collection. There has been much debate over the date of the statue, which would seem to have been made around 40-30 B.C.

 

Seen here in the Vatican Museum.

Image taken from:

 

Title: "The Iron Star and what it saw on its journey through the ages. From myth to history, etc"

Author: TRUE, John Preston.

Shelfmark: "British Library HMNTS 012630.l.50."

Page: 93

Place of Publishing: London

Date of Publishing: 1899

Publisher: Gay & Bird

Issuance: monographic

Identifier: 003682011

 

Explore:

Find this item in the British Library catalogue, 'Explore'.

Download the PDF for this book (volume: 0) Image found on book scan 93 (NB not necessarily a page number)

Download the OCR-derived text for this volume: (plain text) or (json)

 

Click here to see all the illustrations in this book and click here to browse other illustrations published in books in the same year.

 

Order a higher quality version from here.

  

Rome, Vatican Museums. Laocoon's Group.

 

"Aut haec in nostros fabricata est machina muros

Inspectura domos venturaque desuper urbi,

Aut aliquis latet error: equo ne credite, Teucri.

Quidquid id est, timeo Danaos et dona ferentes. "

 

"Questa è macchina contro le nostre mura innalzata,

e spierà le case, e sulla città graverà:

un inganno v'è certo. Non vi fidate, Troiani.

Sia ciò che vuole, temo i Dànai, e piú quand'offrono doni."

 

"This machine is built against our walls, it will spy the houses,

and the city will bear: there is certainly a hoax. Do not trust, Trojans.

Whether what he wants, I fear the Danaans, and more when they offer gifts."

  

Virgilio, Eneide II, 46-49 (Comment by Laocoon in front of the Trojans)

 

Facebook I www.alchimilla.it

 

Copyright © 2012 Katia Celestini. Tutti i diritti riservati.

 

Pieter Claesz Soutman. 1593-1657. Haarlem. Laocoon et ses fils mordus par les serpents. Bordeaux Musée des Beaux Arts.

 

Mythologie grecque. Iliade. Laocoon est un troyen, prêtre de Poseïdon. Fils du roi Priam. Comme tous les troyens il voit partir la flotte grecque qui fait semblant d'abandonner le siège de Troie. Les grecs ont laissé sur la rive, un grand cheval de bois. Tout le monde pense que c'est une offrande aux Dieux et notamment à Poséïdon, Dieu de la Mer, pour garantir un bon retour en Grèce. En réalité c'est une ruse de guerre : le cheval est plein de soldats grecs en arme. la flotte n'est pas loin. Laoocon est le seul a mettre en garde les troyens. C'est lui qui prononce la phrase fameuse "je crains les Grecs, même quand ils font des cadeaux" (timeo Danaos et dona ferentes" en latin). Deux serpents sortent de la mer et attaquent Laoocon et ses deux fils. Les Troyens pensent que les Dieux condamnent Laoocon et font entrer le cheval dans Troie. A la nuit les soldats grecs sortent du cheval et ouvrent les portes de la ville à leur armée.

 

Pieter Claesz Soutman. 1593-1657. Haarlem. Laocoon and his son bitten by snakes. Bordeaux Museum of Fine Arts.

 

Greek mythology. Iliad. Laocoon was a Trojan priest of Poseidon. Son of King Priam. Like all Trojans he sees from the Greek fleet that pretends to abandon the siege of Troy. The Greeks left on the shore, a large wooden horse. Everyone thinks that it is an offering to the gods and especially Poseidon, God of the Sea, to ensure a safe return to Greece. In reality it is a ruse: the horse is full of Greek soldiers weapon. fleet is not far. Laoocon is the only one to warn the Trojans. It is he who utters the famous phrase "I fear the Greeks even when they come bearing gifts" (timeo Danaos et dona ferentes "in Latin). Two snakes out of the sea and attack Laoocon and his two son. The Trojans think the gods condemn and are Laoocon enter the horse in Troy. at night the Greek soldiers out of the horse and opened the city gates to their army.

  

When discovered the upraised arm of Laocoon was missing.This cast of the statue shows the Raphael approved restoration. Michelangelo thought the arm should be bent back. In 1906 the missing arm was discovered and agrees with Michelangelos concept. The original in the Vatican Museum has had the original arm restored.

The statue is attributed by the Roman author Pliny the Elder to three sculptors from the island of Rhodes: Agesander, Athenodoros and Polydorus. It shows the Trojan priest Laocoön and his sons Antiphantes and Thymbraeus being strangled by sea serpents.

  

Bitterly cold outside today, so no chance for plein air really.

Sketch from plaster cast of Laocoon.

HAH! Betcha didn’t know there was a thirteenth sign, didja? Opiuchus is the Serpent Bearer, and a relative newcomer to the Zodiac, which is why it isn’t included in many listings. It represents one of two possible things – either Apollo battling the giant snake that guarded the Oracle of Delphi, or Laocoon being strangled to death by sea serpents for trying to stop the Greeks from sacking Troy. Personally, I think that it represents Aladdin versus Jafar, but that’s just me.

 

Featured on Life In Plastic: nerditis.com/2015/02/06/life-in-plastic-the-zodiac-part-2/

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