The Warrior Queen

A lost Warrior Queen who ruled a Lost Kingdom, that was being destroyed by ISIS. The top painting was done by Herbert Gustave Scmalz, a Pre-Raphaelite. A Rena type. 


Zenobia ruled an empire of different peoples; as a Palmyrene, she was accustomed to dealing with multilingual and multicultural diversity since she hailed from a city which embraced many cults.[109] The queen’s realm was culturally divided into eastern-Semitic and Hellenistic zones; Zenobia tried to appease both, and seems to have successfully appealed to the region’s ethnic, cultural and political groups.[110] The queen projected an image of a Syrian monarch, a Hellenistic queen and a Roman empress, which gained broad support for her cause.

Herbert Gustave Schmalz (1856–1935)[1] who named himself Herbert Gustave Carmichael in 1918, was an English painter. He is counted among the Pre-Raphaelites.


Schmalz was born in England as the son of a German father and an English mother. He received conventional education in painting, first at the South Kensington Art School and later at the Royal Academy of Arts, where he studied with Frank Dicksee, Stanhope Forbes and Arthur Hacker. He perfected his studies in Antwerp at the Royal Academy of Fine Arts.[citation needed]

After his return to London he made a name for himself as a history painter, with a style influenced by the Pre-Raphaelites and orientalism. In 1884 he successfully exhibited his painting Too Late at the Royal Academy. After a voyage to Jerusalem in 1890 he made a series of paintings with New Testament topics, with Return from Calvary (1891) one of the best known.[citation needed]

After 1895 Schmalz increasingly painted portraits. In 1900 he held a big solo exhibition named “A Dream of Fair Women” in the Fine Art Society in Bond Street.[citation needed]

Schmalz was friends with William Holman Hunt, Val Prinsep and Frederic Leighton. In 1918, after Germany was defeated in World War I, he changed his name to Herbert Gustave Carmichael.[citation needed]

Schmalz, Herbert Gustave; Saint Monica’s Prayer; Middlesbrough Institute of Modern Art, mima;



Two huge statues of seated figures

The right colossus of Memnon was probably restored by Zenobia.

Zenobia turned her court into a center of learning, with many intellectuals and sophists reported in Palmyra during her reign.[112] As academics migrated to the city, it replaced classical learning centers such as Athens for Syrians.[112] The best-known court philosopher was Longinus,[113] who arrived during Odaenathus’ reign and became Zenobia’s tutor in paideia (aristocratic education).[114][112] Many historians, including Zosimus, accused Longinus of influencing the queen to oppose Rome.[115][114] This view presents the queen as malleable,[114] but, according to Southern, Zenobia’s actions “cannot be laid entirely at Longinus’ door”.[31] Other intellectuals associated with the court included Nicostratus of Trapezus and Callinicus of Petra.[116]

From the second to the fourth centuries, Syrian intellectuals argued that Greek culture did not evolve in Greece but was adapted from the Near East.[116] According to Iamblichus, the great Greek philosophers reused Near Eastern and Egyptian ideas.[117] The Palmyrene court was probably dominated by this school of thought, with an intellectual narrative presenting Palmyra’s dynasty as a Roman imperial one succeeding the Persian, Seleucid and Ptolemaic rulers who controlled the region in which Hellenistic culture allegedly originated.[117] Nicostratus wrote a history of the Roman Empire from Philip the Arab to Odaenathus, presenting the latter as a legitimate imperial successor and contrasting his successes with the disastrous reigns of the emperors.[116]

Zenobia embarked on several restoration projects in Egypt.[118] One of the Colossi of Memnon was reputed in antiquity to sing; the sound was probably due to cracks in the statue, with solar radiation interacting with dew in the cracks.[119] Historian Glen Bowersock proposed that the queen restored the colossus (“silencing” it), which would explain third-century accounts of the singing and their disappearance in the fourth.[120]

About Royal Rosamond Press

I am an artist, a writer, and a theologian.
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