Series of engravings made by Hans Holbein around 1523 and collected in his famous work "The Dance of Death" where he shows the conquering and equalizing power of death before all human beings.

Series of engravings made by Hans Holbein around 1523 and collected in his famous work "The Dance of Death" where he shows the conquering and equalizing power of death before all human beings.

Series of engravings made by Hans Holbein around 1523 and collected in his famous work "The Dance of Death" where he shows the conquering and equalizing power of death before all human beings.

Series of engravings made by Hans Holbein around 1523 and collected in his famous work "The Dance of Death" where he shows the conquering and equalizing power of death before all human beings.

Series of engravings made by Hans Holbein around 1523 and collected in his famous work "The Dance of Death" where he shows the conquering and equalizing power of death before all human beings.

We all know the Golden legend where Saint George must save a princess who is going to be sacrificed as a tribute so that a Dragon allows the people to drink from the fountain. When Saint George kills him, the citizens decide to leave their paganism to embrace Christianity. It is said that this story is a translation of the Greek myth of Perseus and Andromeda, or of Hercules and Hesione, others relate it to the Egyptian god Horus as the horseman who surpassed Evil with his spear. In any case it is clear that early Christianity adapted the new religion to the existing one, to the old beliefs.

In this process of syncretism, Christian mythology presents us with Saint George as the white knight of the Church and the dragon would be the image of Satan, idolatry and paganism. His image was venerated for centuries, in 494 Georgios - that Roman soldier executed in Nicomedia for his faith in the time of Emperor Diocletian - is canonized and venerated ever since. His cult spread, he became patron of knights and soldiers (miles Christi), protector of the crusaders. During the reconquest, Pedro I and later Jaime I of Aragon appeared to him to help in the fight against the Muslims in the battles of Alcoraz and El Puig respectively.

From here we are left with the symbols of the knight of courage and the wisdom of the dragon, discarding that representation as an incarnation of evil, as a relative of the serpent.

We all know the Golden legend where Saint George must save a princess who is going to be sacrificed as a tribute so that a Dragon allows the people to drink from the fountain. When Saint George kills him, the citizens decide to leave their paganism to embrace Christianity. It is said that this story is a translation of the Greek myth of Perseus and Andromeda, or of Hercules and Hesione, others relate it to the Egyptian god Horus as the horseman who surpassed Evil with his spear. In any case it is clear that early Christianity adapted the new religion to the existing one, to the old beliefs.

In this process of syncretism, Christian mythology presents us with Saint George as the white knight of the Church and the dragon would be the image of Satan, idolatry and paganism. His image was venerated for centuries, in 494 Georgios - that Roman soldier executed in Nicomedia for his faith in the time of Emperor Diocletian - is canonized and venerated ever since. His cult spread, he became patron of knights and soldiers (miles Christi), protector of the crusaders. During the reconquest, Pedro I and later Jaime I of Aragon appeared to him to help in the fight against the Muslims in the battles of Alcoraz and El Puig respectively.

From here we are left with the symbols of the knight of courage and the wisdom of the dragon, discarding that representation as an incarnation of evil, as a relative of the serpent.

Hyperborea was one of those lost continents like Atlantis, Lemuria, and Mu that is believed to be located in the Arctic regions. Along with Tule, it was one of several terrae incognitae of the Greeks and Romans. People were said to live to be a thousand years old and to enjoy lives of complete happiness.

This mythical place full of legends, immortal beings and demigods, has been considered as the polar center of civilization and spirituality of the Golden Age.

Hyperborea has been extensively referenced in literature, from Joyce's Ulysses to the works of the Three Musketeers of the Weird Tale: Clark Ashton Smith in his Hyperborean cycle connects with the literature of HP Lovecraft (with whom he shared a great affinity) and the Cthulhu myths. And good old Robert E. Howard used the name Hyperborea (the first kingdom to form after the destruction of Thuria) as part of the geography of the literary universe of Conan the Barbarian.

The last Iberian was a human comet that crossed this world until it was lost in the Iditarot, that distant place of which the natives of Alaska spoke. Its splendor left us with a blast of light that, like the ancient shamans of the tribe, deeply connected us with the forgotten memory of the true meaning of life and its mystery, its cosmic meaning. An invitation to reconnect with that ancestral past in which we beat in harmony with Mother Earth, which desperately urged us to strengthen ties with nature as keys to living in the future, to embrace and save Gaia - who reacts when we mistreat her. , and not be carried away by the drift of modernity that tries to dominate it to maximize material growth.

He wanted to be a wolf to live in unpolluted lands. It was that lupus that was part of mythology - where Palaeolithic man, fully integrated into nature, merged with the wolf in a rite of passage - turned into a warrior to face aggression ... Our archetype was a A rebellious, indomitable, visionary, free and wild hero who did not allow himself to be tamed and who fought tirelessly for life, forests and threatened fauna. The spell of his word, his energy, his enthusiasm, his vitality, his strength, his message and his codes captivated and transformed with his light a lineage, that of the line of the free, that like cranes stretched by the lash of the winter know, if not to return, at least feel, perceive and look out to that lost paradise that you dreamed of, so that in the Iberian nights the beautiful howls of the wolf will not stop being heard.

[Text and Design inspired by Felix Rodríguez de la Fuente and the masterful Cuarto Milenio program: “Felix, the last hero” by Iker Jiménez]

"He was not the most honest or the most pious man, but he was a brave man" P. Reverte.

If you lived dangerously and your life was hanging by a thread, if you defied authority, defending your reason and rights with the proud point of your sword, if you sacrificed yourself and were generous and human, if you were fearless, reckless, arrogant, brave, adventurous, seductive, rogue, loyal, if you were capable of the most heroic but also the meanest actions, if you were guided by your code of honour, if you sought glory on the margins of society and the law, if you lost your innocence in the face of the harsh reality of mud and blood, and if, disenchanted, everyone abandoned you. .. then you were probably an Old Thirdsman, a tired hero in rusty armour, a forgotten anti-hero like a cursed Alatriste.

You can't breathe
You can't run
You can't get away
The bell will not save you... 

A custom-made pine suit
Grand Duke without pulse asleep,
The box and the crypt are closed
You can't escape with your keys
And with fogged glass
Who will see you? 

Gelineau Syndrome
Excess Narcolepsy
In a deep sleep you will fall
Flowers on your grave
No spider nails, you scream and bang
To a coffin they won't listen to

Pests, epidemics and cholera
taphephobia does not help you
Two metres below ground
Tight burial
Sealed stone slab
In a matter of hours your choking

Premature funeral
Fear of the dark
Sepulchral silence...
Buried alive you are

You can't breathe
You can't run
You can't get away
The bell will not save you... 

A custom-made pine suit
Grand Duke without pulse asleep,
The box and the crypt are closed
You can't escape with your keys
And with fogged glass
Who will see you? 

Gelineau Syndrome
Excess Narcolepsy
In a deep sleep you will fall
Flowers on your grave
No spider nails, you scream and bang
To a coffin they won't listen to

Pests, epidemics and cholera
taphephobia does not help you
Two metres below ground
Tight burial
Sealed stone slab
In a matter of hours your choking

Premature funeral
Fear of the dark
Sepulchral silence...
Buried alive you are

The irreverent and revolutionary Old skull, the spirit of fun. Skulls were used in the old traditions of satirical and ridiculous poems making social criticism and protest, dates 500 years ago. Also had been used in different plays like the ”Dance of Death” in the 14th century. People needed satire to help deal with the grim world (plagues and diseases) around them. But the symbol emerged in Mexico as a means of expression especially used with roguish and ironic tones against the nobles and powerful of the viceroy times. It is also used during the celebration of the day of the death.

"Only dead fish follow the stream of the river".

Swimming against the current is an odyssey in an open world where paradoxically there is more access to information but at the same time we are more controlled. Reflections of those dystopian universes — riddled with environmental disasters and cataclysms — from science fiction novels have come true. But there is still hope. There are spaces of freedom to ambush, where dissidents and freethinkers can react and rebel against the flashes of tyranny, censorship and dehumanization present in society. In some remote and lost place the Lineage of the free will always resist.

There is a legend that says that in a place in the Pacific called Teaoturoa, lived a handsome warrior named Mataora who was captivated by the exotic and irresistible beauty of a woman from the underworld, daughter of Uetonga, descendant of the goddess of the night and the god of earthquakes and named Niwareka. He was so captivated that he asked her to marry him and she agreed to stay in his world. Things worked until one unfortunate day the brave Mataora went into a rage and violently mistreated the princess. Drowning in her sadness, she left her husband, returning to Rarohenga, to her old underground life. The clouds wept, the trees screamed, the rivers bled ... the warrior's supplications echoed in the depths of the earth. Sorry for his actions, he descended in search of his beloved to implore her forgiveness. Uetonga, who recognized him when he arrived, gave a great laugh because the hero's body paint had been erased along the way. Naked with shame, he exposed his pain in tears of regret, to which the merciful King forgave him by permanently tattooing him and showing him the art of Ta Moko. Reconciled, they returned from the afterlife, where they taught generation after generation this traditional Maori tattoo technique from New Zealand.

There is a legend that says that in a place in the Pacific called Teaoturoa, lived a handsome warrior named Mataora who was captivated by the exotic and irresistible beauty of a woman from the underworld, daughter of Uetonga, descendant of the goddess of the night and the god of earthquakes and named Niwareka. He was so captivated that he asked her to marry him and she agreed to stay in his world. Things worked until one unfortunate day the brave Mataora went into a rage and violently mistreated the princess. Drowning in her sadness, she left her husband, returning to Rarohenga, to her old underground life. The clouds wept, the trees screamed, the rivers bled ... the warrior's supplications echoed in the depths of the earth. Sorry for his actions, he descended in search of his beloved to implore her forgiveness. Uetonga, who recognized him when he arrived, gave a great laugh because the hero's body paint had been erased along the way. Naked with shame, he exposed his pain in tears of regret, to which the merciful King forgave him by permanently tattooing him and showing him the art of Ta Moko. Reconciled, they returned from the afterlife, where they taught generation after generation this traditional Maori tattoo technique from New Zealand.

There is a legend that says that in a place in the Pacific called Teaoturoa, lived a handsome warrior named Mataora who was captivated by the exotic and irresistible beauty of a woman from the underworld, daughter of Uetonga, descendant of the goddess of the night and the god of earthquakes and named Niwareka. He was so captivated that he asked her to marry him and she agreed to stay in his world. Things worked until one unfortunate day the brave Mataora went into a rage and violently mistreated the princess. Drowning in her sadness, she left her husband, returning to Rarohenga, to her old underground life. The clouds wept, the trees screamed, the rivers bled ... the warrior's supplications echoed in the depths of the earth. Sorry for his actions, he descended in search of his beloved to implore her forgiveness. Uetonga, who recognized him when he arrived, gave a great laugh because the hero's body paint had been erased along the way. Naked with shame, he exposed his pain in tears of regret, to which the merciful King forgave him by permanently tattooing him and showing him the art of Ta Moko. Reconciled, they returned from the afterlife, where they taught generation after generation this traditional Maori tattoo technique from New Zealand.

"He was not the most honest or the most pious man, but he was a brave man" P. Reverte.

If you lived dangerously and your life was hanging by a thread, if you defied authority, defending your reason and rights with the proud point of your sword, if you sacrificed yourself and were generous and human, if you were fearless, reckless, arrogant, brave, adventurous, seductive, rogue, loyal, if you were capable of the most heroic but also the meanest actions, if you were guided by your code of honour, if you sought glory on the margins of society and the law, if you lost your innocence in the face of the harsh reality of mud and blood, and if, disenchanted, everyone abandoned you. .. then you were probably an Old Thirdsman, a tired hero in rusty armour, a forgotten anti-hero like a cursed Alatriste.