Love, Magic, and Mystery: The Enigmatic Female Doll Pierced with Thirteen Pins from Roman Egypt (Vodoo?)

 

In the quiet, dimly lit halls of the Musée du Louvre, among countless artifacts that tell stories of ancient civilizations, there lies a small but striking object that whispers secrets of love, desperation, and ancient magic. This object is a female doll, positioned in a kneeling pose and pierced with thirteen sharp pins. Alongside it was discovered a lead curse tablet inscribed with a love binding spell — a powerful relic from Roman Egypt, dating back to the 4th century AD.

This doll, simple yet chilling, offers a rare glimpse into the intimate and often turbulent world of ancient emotions, where love and magic were intertwined, and where the supernatural was invoked to influence the heart’s deepest desires.

The Doll: More Than Just a Toy

At first glance, the doll might appear as a mere toy or figurine. However, its posture — kneeling with hands likely clasped or raised — and the disturbing detail of thirteen pins driven into its body reveal its true purpose: it was a magical tool, an object crafted for a ritual of love binding.

In many ancient cultures, dolls like these were used as conduits to affect real people. By manipulating the doll, the practitioner believed they could influence the life and emotions of the person the doll represented. The number thirteen, often associated with superstition and power, was here likely intended to amplify the spell’s effectiveness.

The Lead Curse Tablet: Words of Ancient Magic

Accompanying the doll was a lead curse tablet, or defixio, a small sheet of lead inscribed with a spell meant to bind the affections of a beloved. These tablets were common in the Greco-Roman world and served as petitions to the gods or spirits to intervene in human affairs, especially those matters of the heart.

This particular spell is a love binding curse — a plea, or perhaps a demand, that the desired individual be irresistibly drawn to the caster. It reveals the emotional intensity and complexity of ancient relationships, where love was not only an emotional experience but also a battlefield for control, jealousy, and desire.

Roman Egypt in the 4th Century AD: A Cultural Melting Pot

The 4th century AD was a time of significant transition in Roman Egypt. The ancient Egyptian traditions coexisted and intertwined with Greco-Roman culture, creating a unique blend of religious practices and magical beliefs. Magic was not merely superstition but an accepted part of daily life, practiced by many across social classes.

The use of curse tablets and magical dolls reflects this rich tapestry of beliefs, where people sought control over fate and fortune through ritual. It also shows how personal and universal the experience of love was — transcending time and culture.

The Symbolism of the Doll and Pins

The pins piercing the doll were likely intended to 'bind' the person represented, preventing them from straying or resisting the spellcaster’s desires. Each pin may have symbolized a specific aspect of control or a particular barrier to love that needed to be pierced.

This physical act of piercing contrasts with the spiritual nature of the spell, illustrating how tangible objects and written words were combined to manifest a desired outcome in the metaphysical realm.

What This Tells Us About Ancient Love and Magic

The kneeling doll with its pins and accompanying curse tablet invites us to reflect on the timelessness of human emotions. It reminds us that love, with all its passion and pain, has always been a powerful force driving people to seek extraordinary solutions — whether through heartfelt pleas or mystical rituals.

It also challenges our modern perceptions of ancient peoples, showing us that beneath the grand historical narratives were individuals grappling with the same fears, hopes, and yearnings as we do today.

The Louvre’s Treasure: Preserving Stories of the Past

Today, this haunting artifact rests in the Musée du Louvre, where visitors can ponder its story and the lives it touched nearly 1,700 years ago. It stands as a testament not only to the art of ancient magic but also to the universal human quest for connection and affection.

Next time you visit the Louvre, pause by this small figure — the female doll pierced with thirteen pins — and imagine the story behind it: a story of love, desperation, and a world where magic was real enough to be grasped in the hands.

Read More

The Art of Imperfection: Miroslav Tichý and His Homemade Cameras

In the world of photography, perfection is often pursued through cutting-edge technology, precision lenses, and sophisticated equipment. But sometimes, true artistry emerges from the most unexpected places — and with the simplest of tools. Such is the story of Miroslav Tichý, a Czech photographer who crafted his own cameras from cardboard tubes, tin cans, bits of string, and whatever scraps he could find, creating thousands of haunting images over two decades.

An Unconventional Visionary

Born in 1926 in Kyjov, Czechoslovakia, Miroslav Tichý’s early life was shaped by the upheavals of World War II and the oppressive Communist regime that followed. Although he studied art at university, his artistic journey took a uniquely solitary and rebellious turn in the 1960s. Rejecting the constraints of formal art education and the commercialization of art, Tichý began building rudimentary cameras by hand — devices that were deliberately imperfect, flawed, and prone to distortion.

Using recycled materials — cardboard tubes fashioned into lenses, tin cans for bodies, and string as makeshift shutters — he created an arsenal of crude photographic tools. These homemade cameras were far from the polished equipment professional photographers rely on, yet they captured something raw and authentic. Tichý’s work was not about technical perfection; it was about capturing fleeting moments, emotions, and the intimacy of the everyday.

The Hidden Photographer

For nearly 25 years, from the early 1960s until 1985, Tichý wandered the streets of his hometown, Kyjov, taking thousands of photographs — mostly of women, whom he observed from a distance. He photographed through windows, fences, and from hidden vantage points, often using pinhole cameras that required patience and a unique kind of intuition. His pictures are blurry, grainy, sometimes out of focus or crooked, but that imperfection is exactly what gives them an ethereal, dreamlike quality.

Tichý’s photography was deeply personal and idiosyncratic. He never exhibited his work during this period and remained largely unknown outside his small town. In fact, he preferred to live apart from society, often regarded as eccentric or even a local hermit. His cameras, stored away in makeshift cases and old tins, were discovered only decades later.

Rediscovery and Recognition

It wasn’t until the late 1990s that the art world began to recognize Miroslav Tichý’s genius. Photographers and curators stumbled upon his work, drawn to its raw honesty and unconventional beauty. His photographs soon began appearing in galleries and exhibitions worldwide, earning acclaim for their poetic representation of voyeurism, memory, and the ephemeral nature of beauty.

Tichý’s art challenges conventional ideas about photography. His “imperfect” images force us to reconsider what makes a photograph valuable: Is it technical clarity, or is it the emotion and story behind the image? His work blurs the line between reality and imagination, inviting viewers into a world seen through his uniquely crafted lenses.

The Legacy of a Handmade Camera

Miroslav Tichý’s story is a powerful reminder that creativity doesn’t depend on expensive tools or perfect technique. With nothing but discarded materials and a determined spirit, he transformed humble objects into instruments of art that captured the complexity of human experience.

His homemade cameras — pieced together with cardboard, tin cans, and string — symbolize the essence of artistic resourcefulness and the pursuit of vision against all odds. Through these fragile devices, Tichý left behind a legacy of thousands of images that continue to inspire photographers, artists, and dreamers around the world.

In a digital age dominated by megapixels and instant sharing, Miroslav Tichý’s work calls us back to the tactile, imperfect, and deeply personal roots of photography. It’s a celebration of the beauty found in imperfection, and a testament to the power of seeing the world through one’s own handmade lens.

Read More

Mona Lisa of the Deep: The Mysterious Daguerreotype from the SS Central America

In the murky depths of the Atlantic Ocean, nearly a mile and a half beneath the surface, lies a relic frozen in time — a haunting daguerreotype portrait known as the “Mona Lisa of the Deep.” This captivating image of an unknown woman was discovered in 2014 in the wreckage of the SS Central America, resting 7,200 feet beneath the waves off the coast of South Carolina.

The SS Central America was a steamship that tragically sank in 1857 during a fierce hurricane. Known as the “Ship of Gold,” it was carrying tons of gold and countless passengers when disaster struck. The shipwreck was a historic loss, but the riches aboard made it a legendary treasure trove — estimates today value the recovered treasure at an astonishing $765 million in 2021 dollars.

Among the gold coins, nuggets, and artifacts recovered over the years, the daguerreotype stands out for its poignant human connection. Unlike the material wealth, this photograph captures the face of a woman from the mid-19th century — a fleeting glimpse into a life forever paused by tragedy. The image’s clarity and serene expression earned it the nickname “Mona Lisa of the Deep,” evoking the mystery and timeless allure of Leonardo da Vinci’s masterpiece.

Daguerreotypes, an early form of photography, were precious and rare in the 1850s, often treasured family heirlooms. The fact that this fragile image survived the decades underwater is nothing short of miraculous. It invites us to wonder: Who was this woman? What was her story? Was she a passenger, a loved one, or a symbol of hope amid the chaos?

The discovery of the daguerreotype alongside the ship’s treasure is a reminder that history is not just about gold and artifacts, but about the people whose lives were intertwined with these moments. The SS Central America and its precious cargo connect us to a dramatic chapter in American history — the California Gold Rush era, maritime adventure, and the ever-present human stories beneath the surface.

As underwater archaeology continues to uncover secrets from the deep, the “Mona Lisa of the Deep” remains a captivating symbol — a silent witness to the past, resting quietly in the depths, waiting to tell her story.

Read More

A nearly complete 1st century BCE carnyx (celtic war trumpet)

 

In 2004, archaeologists discovered a hoard of ritually destroyed weapons — a dozen swords, scabbards, spearheads, a shield, bronze helmets, an iron helmet shaped like a swan — a cauldron, animal remains and seven carnyces. Before then, the remains of only five examples of the Celtic man-sized wind musical instrument that was widely used as ceremonial and highly intimidating war trumpets in the two centuries before and after Christ were known to survive.One of the seven found at Tintignac, on the other hand, was almost entirely complete. The Tintignac Carnyx was broken into 40 pieces. When puzzled back together, it was found to be just an inch short of six feet long with a single missing section of the tube. The bell was a boar’s head with protruding tusks and large pointed ears. Once restored, the Tintignac Carnyx proved to be the first virtually complete carnyx ever found.

The Greek historian Polybius (206-126BC) was so impressed by the clamour of the Gallic army and the sound of the carnyx, he observed that, "there were countless trumpeters and horn blowers and since the whole army was shouting its war cries at the same time there was such a confused sound that the noise seemed to come not only from the trumpeters and the soldiers but also from the countryside which was joining in the echo".

Read More

The Cosquer underwater paleolithic cave

 

Palaeolithic decorated cave, located in France, that contains numerous cave drawings dating back as far as 27,000 years BP. The cave has more than 200 parietal figures and is also the only decorated cave whose entrance opens under the sea.The Cosquer Cave is located in the Calanque de Morgiou in Marseille, France, near Cap Morgiou. The entrance to the cave is located 37 m (121 ft) underwater, due to the Holocene sea level rise. The cave contains various prehistoric rock art engravings. It was discovered in 1985 by and named after diver Henri Cosquer, but its existence was not made public until 1991, when three divers became lost in the cave and died.

The cave can now be accessed by divers through a 175 m (574 ft) long tunnel; the entrance is located 37 m (121 ft) below sea level, which has risen since the cave was inhabited. During the glacial periods of the Pleistocene, the shore of the Mediterranean was several kilometers to the south and the sea level up to 100 m (330 ft) below the entrance of the cave.Cosquer Cave is home to 500 paintings and engravings which were made during two distinct periods of occupation, the first 27,000 years ago and the last 19,000 years ago. Half of them depict animals drawn in bold lines, such as bison, antelopes, ibex, seals, auks and numerous horses.

The walls also feature 200 geometric designs. Except for an engraving showing a half-man, half-seal creature, the only human depictions are red or black hand stencils, some just outlines, others coloured in. Thumbs always seem to be shown intact, whereas other fingers are often missing or truncated. A computer analysis suggests these drawings are mostly of female hands. There are over 150 animals painted or engraved, making Cosquer one of the most densely painted caves ever found. And the 11 different species depicted are more than at Lascaux and nearly as many as at Chauvet.

Read More

A 19th century Japanese Firemen’s coat decorated with a spider hovering over an abandoned Go board.

 

an early-nineteenth-century firefighter’s coat, called hikeshibanten, since it features a spooky spider. Made in the Edo period in Japan, these firefighter’s coats were reversible, and this design is actually on the interior of the jacket, only visible when the jacket has been turned inside out. A large spider—with an endearing face—looms over the shoulder of the jacket, where it hovers menacingly over an abandoned go board (Pacific Northwesterners may have unnerving flashbacks to the giant house spiders that descend on Seattle in the autumn). The range of tonalities centers on indigo, white, black, and greyish-brown, with red accents on the fan; this color palette visually unites the work, creating parallels between the spider’s eyes and the go pieces.

The method of dyeing used, tsutsugaki, is a type of resist dyeing. The design was drawn on the cotton using rice paste, and these initial lines are visible now as the lightest areas of the design. The spider and the go board were dyed their respective colors, and covered with more rice paste to block any other dye from entering the area. Then the fabric was dipped into indigo multiple times, dried, soaked in hot water again, and the rice paste was scraped off to reveal the layering of colors; this whole process could take 20 days.

The scene is from the story of the warrior-hero Minamoto no Yorimitsu (948–1021) who, once when sick, was visited by an evil priest in the guise of a giant spider. Yorimitsu saw through the disguise and attacked the spider priest, and his four attendants (who were playing a game of Go while guarding him) leapt up to track the intruder back to his den

Read More

Fall of the Rebel Angels, carved out of a single piece of marble in 1740 by Italian sculptor Agostino Fasolato, it depicts 60 fallen angels.

 

The astonishing piece, comprising more than sixty sculpted figures, evocatively embodies the eternal struggle between good, represented by the archangel Michael with his flaming sword, and the forces of evil spearheaded by Lucifer, who leads the rebel angels.

In 1765 Giovan Battista Rossetti, in his Description of the paintings, sculptures and architecture of Padua, lists it as one of the main attractions of Padua, describing it as “to say the least wonderful, not tempted or even from ancient Greece“. The remarkable technical mastery shown by the sculpture continued to amaze people throughout the 19th century, even beyond local borders. The theologian Antonio Rosmini describes it several times in his epistolary.

Read More