Material and spiritual barriers

Sculpture of fish god from Lepenski Vir, likely to have been part of the people’s spiritual responses to flooding. Credit: Mickey Mystique/Wikimedia Commons

In a beautiful article from 2019, Patrick Nunn gives a couple of examples for protection architecture that serve both material and spiritual purposes. I would argue, that this is the case for any protection structure also today, at least if it is visible. The interesting question here is not, whether a spiritual barrier was or is working today, but rather what functions it fulfills for the well being of the community and thus its protection in a broader sense.

Here are some excerpts with examples from Brittany (France), Serbia and the UK:

“Take the stone lines at Carnac, in Brittany, some of which extend for kilometres and involve thousands ofmenhirs, once regarded as boundary markers or memorials to fallen warriors. The idea of Serge Cassen that these stone lines represent “a cognitive barrier” between the physical and metaphysical worlds intended to halt the disastrous impacts of rising sea level in the Gulf of Morbihan more than 6.000 years ago is in keeping with what we are learning elsewhere.

“Neatly arranged deposits of once-valuable objects such as stone tools, even human remains, may have been intentionally created as votive offerings to divinities to stop the ocean’s rise. Cemeteries may have been intentionally situated on coasts, symbolically stabilising them in the minds of local peoples. Sandstone sculptures of fish gods from Lepenski Vir inSerbia may have been totems intended to prevent inundation.”

“Even physical barriers, long recognised as useless against the encroaching ocean, may have become symbolic; an example of wooden structures from Flag Fen near Peterborough in the UK was interpreted in this way by Francis Pryor.”

Alexandria II

This is the introduction to “Pharos and Pharillon” a book by British writer and literary critic E.M. Forster about Alexandria. The book was published in 1923. Forster was stationed in Alexandria during his service in the British military and wrote two books about the port city.

“Before there was civilization in Egypt, or the delta of the Nile had been formed, the whole country as far south as modern Cairo lay under the sea. The shores of this sea were a limestone desert. The coast line was smooth usually, but at the north-west corner a remarkable spur jutted out from the main mass. It was less than a mile wide, but thirty miles long. Its base is not far from Bahig, Alexandria is built half-way down it, its tip is the headland of Aboukir. On either side of it there was once deep salt water.

Centuries passed, and the Nile, issuing out of its crack above Cairo, kept carrying down the muds of Upper Egypt and dropping them as soon as its current slackened. In the north-west corner they were arrested by this spur and began to silt up against it. It was a shelter not only from the outer sea, but from the prevalent wind. Alluvial land appeared; the large shallow lake of Mariout was formed; and the current of the
Nile, unable to escape through the limestone barrier, rounded the headland of Aboukir and entered the outer sea by what was known in historical times as the “Canopic” mouth.

To the north of the spur and more or less parallel to it runs a second range of limestone. It is much shorter, also much lower, lying mainly below the surface of the sea in the form of reefs, but without it there would have been no harbours (and consequently no Alexandria), because it breaks the force of the waves. Starting at Agame, it continues as a series of rocks across the entrance of the modern harbour. Then it
re-emerges to form the promontory of Ras el Tin, disappears into a second series of rocks that close the entrance of the Eastern Harbour, and makes its final appearance as the promontory of Silsileh, after which it rejoins the big spur.

Such is the scene where the following actions and editations take place; that limestone ridge, with alluvial country on one side of it and harbours on the other, jutting from the desert, pointing towards the Nile; a scene unique in Egypt, nor have the Alexandrians ever been truly Egyptian. Here Africans, Greeks and Jews combined to make a city; here a thousand years later the Arabs set faintly but durably the impress of
the Orient; here after secular decay rose another city, still visible, where I worked or appeared to work during a recent war. Pharos, the vast and heroic lighthouse that dominated the first city—under Pharos I have grouped a few antique events; to modern events and to personal impressions I have given the name of Pharillon, the obscure successor of Pharos, which clung for a time to the low rock of Silsileh and then slid unobserved into the Mediterranean.”

full book here.

Drawing Extreme Conditions – Emma Stibbon

In an exhibition at the Royal Academy in London in 2023, contemporary British artist Emma Stibbon exhibited her own wood carving “Collapsed Whaling Station” alongside a selection of works from the Royal Academy collection. All art works depict extreme weather events or ruination or other kinds of disasters. In this nice video she talks about her fascination with these kind of images, referencing explicitly the current climate crisis and it’s effects.

“The Eddystone Lighthouse, during a Storm”

The image shows the painting by painter William Daniell of the Eddystone Lighthouse off Rame Head in Cornwall, England during the ‘Great Storm’ of 1824. Daniell exhibited the painting for the first time in 1825.

Flooding of the Nile as depicted in 1848

“Statues of Memnon at Thebes, during The Inundation”, a lithography from 1848 by Scottish artist David Roberts. It appeared in Roberts book on the Nile region entitled “Egypt & Nubia” published in London the same year.

The flooding of the Nile has been an important natural cycle in Nubia and Egypt since ancient times. It is celebrated by Egyptians as an annual holiday for two weeks starting August 15, known as Wafaa El-Nil. It is also celebrated in the Coptic Church by ceremonially throwing a martyr’s relic into the river, hence the name, The Martyr’s Finger (Coptic: ⲡⲓⲧⲏⲃ ⲛⲙⲁⲣⲧⲏⲣⲟⲥ, Arabic: Esba` al-shahīd). The flooding of the Nile was poetically described in myth as Isis‘s tears of sorrow for Osiris when killed by his brother Set. (source wikipedia)

For a similar rite see my post on the Venetian holiday “Lo Sposalizio del Mare” (the Marriage to the Sea) here.

Doggerland

“When you could walk from London to Paris to get a Croissant for breakfast…” (Jeff Goodell)

Land bridge between the mainland and Britain – Doggerland and Dogger Bank. Comparison of the geographical situation in 2000 to the late years of the Vistula-Würm Glaciation. Translation from German into English of File:Doggerland3er.png using GIMP (XCF file available for use in further translations).

As ice melted at the end of the last glacial period of the current ice age, sea levels rose and the land began to tilt as the huge weight of ice lessened. Doggerland eventually became submerged, cutting off what was previously the British peninsula from the European mainland by around 6500 BCE. The Dogger Bank, an upland area of Doggerland, remained an island until at least 5000 BCE.
A recent hypothesis suggests that around 6200 BCE much of the remaining coastal land was flooded by a tsunami caused by a submarine landslide off the coast of Norway known as the Storegga Slide. (source Wikipedia)

The Year without a Summer


The 19. Century was not only the century of industrialization, the spark that “set human civilization aflame” (Andri Snaer Magnason). Between 1800 and 1815 half a dozen large volcanic eruptions all across the globe significantly changed the climate in China as well as all across Europe and practically all continents. What followed was “the year without a summer” 1816 which did not only bring massive crop failures as well as floods and resulting famines and other hardships to societies worldwide, it also influenced European culture so profoundly that a whole new era of the arts and philosophy developed that had a lasting impact on all of modern society: Romanticism. 1816 is not such a distant past and the paintings, poems, novels and scientific treaties of that era by Caspar David Friedrich, Lord Byron or Mary Shelley remain central to our cultural canon and identity today. In fact, all these climate change stories and images have been right in front of our eyes, in museums, libraries, on t-shirts and advertisements all along. To understand better what’s ahead of us now, we should seek advise from ourselves just seven generations back.


This is an image of the first page of Lod Byron’s famous poem “Darkness” from summer 1816. The full text of the poem and more information about the impacts of “The Year without a Summer” can be found online.

Sinking Hy-Brasil

This is an image from the famous sinking scene from the movie “Erik the Viking” from 1989. the movie plot is built on the medieval saga of the explorer Erik the Red. In one part of the saga Erik and his comrades arrive at the mystical island Hy-Brasil (or simply Brasil) west of Ireland. But the movie combines this Irish myth with two other popular myths: the sinking of Atlantis and the peaceful Minoan culture in the Mediterranean Sea. In a comic climax, the inhabitants of Brasil cheerfully and confidently drown in the sea.

The scene also obviously quotes the very similar scene from the 1961 movie “Atlantis – The Lost Continent”, that can be found here.

Here is the full video excerpt:

The Fall of Numenor

This is the cover of the 2022 edition of J.R.R. Tolkien’s stories about the sunken island kingdom Numenor, with an illustration by Alan Lee. In Tolkien’s oeuvre Numenor is geographically situated west of Middle-Earth and shows strong similarities to Plato’s Atlantis.

Its major cities are located along the coast and the inhabitants are a sea-faring, maritime society, refered to by the people of Middle-Earth as “Sea-Kings”.

I am no expert on the oeuvre of J.R.R. Tolkien. My knowledge is from vague memories of reading some books as a teenage so I rely here solely on source from the internet that are manifold and sometimes contracitory. As I understand, Numenor is not the only flooded land in the Tolkien Universe.

Among the texts I have read, the most astonishing invention by Tolkien to me is the idea of the bending of the earth which leads to the destruction of the island. Here is a quote from Wikipedia: “Eru Ilúvatar, the One God, caused the Changing of the World: the hitherto flat Earth was transformed into a globe, Númenor sank beneath the ocean. The whole population on the island was drowned.” (quote from wikipedia) This flood story is told in a short story entitled “Akallabêth“. The full text can be found here.

Tolkien was apparently influences by the story of “Lyonesse“, a faraway land that sank into the sea in the Middle English romance King Horn.

Thanks to Manuel Rivera for the lead!

Time and Tide Bells

Since 2008 artist and bell-maker Marcus Vergette has been developing the multi-site installation series Time and Tide Bells in various coastal spots across the UK. The installations consist of two bells, one upside down on top of the other, set up in tidal zones so that the waves ring the lower bell during high tide. The work references the many legends of sunken cities of which the church bells can allegedly be heard ringing on the coast on certain sundays. (see also the post here)

In 2010 the project installed also a bell in London. Meanwhile there are seven other “Time and Tide Bells”installed across the island. You can check for the locations here.

The first Bell on the coast of Devon, South England.

All images are from the project’s website.