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.

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

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.

La Estantigua (in Castilian tradition), Güestia or Bona Xente (in Asturian mythology), Corteju de Genti de Muerti (in Extremadura), Estadea (in Zamora), Hueste de Ánimas (in León), Vision, La Huespeda… different names to refer to the Santa Compaña, that group of wandering hooded ghosts, a dark army of souls in pain that wandered in the gloomy night through the towns, forests and crossroads as an omen of death. To know its origin, we must go back to Germanic paganism (Wild Hunt — whose evolution under the medieval Christian veil would give the gloomy spectral procession Mesnie Hellequin—) and Celtic (the Sluagh or the Fairy Host) related to omens of wars, plagues, diseases future and acts of gathering souls.

Sailors be careful as you approach the coasts of being caught by the songs of the mermaids. You will be absorbed in their melodies, their voices will invite you to pleasure & you will forget everything else. These young maidens, with shiny scales, fear nothing, that although they descend from the depths, from the darkness & the cold, their hearts are warm. Legend has it that Ulises was close to crossing the gates of Hades when hearing his seductive music if it were not because he tied himself to a mast so that he could not throw himself into the waters. Who does not want in exchange for a tragic but beautiful ending to continue dreaming, imagining to escape the sad reality? Let's be dreamers and fight for a world where imagination do not end up leaving the mermaids themselves stranded.

Sailors be careful as you approach the coasts of being caught by the songs of the mermaids. You will be absorbed in their melodies, their voices will invite you to pleasure & you will forget everything else. These young maidens, with shiny scales, fear nothing, that although they descend from the depths, from the darkness & the cold, their hearts are warm. Legend has it that Ulises was close to crossing the gates of Hades when hearing his seductive music if it were not because he tied himself to a mast so that he could not throw himself into the waters. Who does not want in exchange for a tragic but beautiful ending to continue dreaming, imagining to escape the sad reality? Let's be dreamers and fight for a world where imagination do not end up leaving the mermaids themselves stranded.