Prince Dimitri jewelry

31/01/2026

27/01/2026

The enchanting temple of Khnum Located in Esna, about 60 km south of Luxor, right in the middle of the modern town.

Construction began under the Ptolemaic dynasty (3rd–2nd century BC) and continued under Roman emperors, including Claudius, Vespasian, Titus, and Domitian.

• The temple is dedicated to Khnum, the ram-headed creator god who, according to Egyptian belief, fashioned humanity on a potter’s wheel and controlled the annual flooding of the Nile, essential for life.

Beneath a Roman sky carved in stone, the god Khnum still turns his potter’s wheel, shaping life as the Nile once rose and fell at his command. Columns rise like bundled papyrus, immense and gentle at once—and no two are the same.
Look closely at their crowns: each capital blooms differently. Lotus, palm, papyrus, flowers never repeated symbolizing that Egypt was not merely a land, it was the most beautiful garden in the world—the garden of the gods, where every flower in the world was found.

For centuries this temple slept beneath the modern town, its colors hidden, protected by dust and darkness. Today, blues return to the sky of the ceiling, reds breathe again, greens awaken—like a dream remembered after two thousand years.

Here, Rome speaks the language of Egypt.

25/01/2026

Philae

Today I stepped into a dream on the Nile at the temple of Philae, the last great sanctuary of Isis, Osiris, and Horus, now reborn on the island of Agilkia after its rescue from the rising waters of Aswan.
Bathed in soft morning light, the first pylon rose before me like a stone tapestry, its towering reliefs still whispering the myth of Isis reviving Osiris and nursing the child Horus, a timeless ode to love, loss, and rebirth.
I wandered through colonnades where no two capitals are alike, past the delicate Birth House of Horus and the graceful Kiosk of Trajan, feeling the layers of Pharaonic, Ptolemaic, Roman, and early Christian devotion unfold in every carved surface.
Knowing that this entire complex was dismantled stone by stone and moved to safety in the 1960s, so that its stories would not disappear beneath the Nile, made it even more fascinating .
If Isis is the guardian of magic and memory, then Philae is her living chapel on the Nile.

25/01/2026

Philae

Today I stepped into a dream on the Nile at the temple of Philae, the last great sanctuary of Isis, Osiris, and Horus, now reborn on the island of Agilkia after its rescue from the rising waters of Aswan.
Bathed in soft morning light, the first pylon rose before me like a stone tapestry, its towering reliefs still whispering the myth of Isis reviving Osiris and nursing the child Horus, a timeless ode to love, loss, and rebirth.
I wandered through colonnades where no two capitals are alike, past the delicate Birth House of Horus and the graceful Kiosk of Trajan, feeling the layers of Pharaonic, Ptolemaic, Roman, and early Christian devotion unfold in every carved surface.
Knowing that this entire complex was dismantled stone by stone and moved to safety in the 1960s, so that its stories would not disappear beneath the Nile, made it even more fascinating .
If Isis is the guardian of magic and memory, then Philae is her living chapel on the Nile.

24/01/2026

The giants of Abu Simbel. Pure magic!

In the deep south of Egypt, Ramesses II ordered two temples to be cut directly from living rock as a declaration of divine power and love. Construction is usually dated roughly to 1264–1244 BC and took about twenty years.

Four colossal figures of the pharaoh, 21 meters (65 feet) tall sit in eternal stillness, each taller than a modern building, guarding a sanctuary aligned with the sun itself. The temple runs about 56 m (185 ft) into the rock through successive halls to a sanctuary containing four seated figures: Ptah, Amun‑Ra, the deified Ramesses, and Ra‑Horakhty. Because of its orientation, twice a year, sunlight penetrates the entire length of the temple to light three of the four figures; . Only Ptah, god of the underworld, remains untouched by light.

Beside this monument to power stands something rarer: a temple of devotion dedicated to the goddess Hathor and to Queen Nefertari, Ramesses II’s Great Royal Wife.
Here, Queen Nefertari appears not reduced, but equal—her statue the same height as the king’s. Dedicated to Hathor, goddess of love and harmony, it is one of the most extraordinary tributes ever made to a woman in ancient Egypt.

From 1964 to 1968, when rising waters threatened to erase this miracle, the world came together. The temples were cut into approximately 1042 massive blocks and reassembled 200 metres to the north-west on ground approximately 65 metres higher than their original position.
Due to their historical significance, the Nubian Monuments from Abu Simbel to Philae were inscribed on UNESCO’S World Heritage List in 1979.

24/01/2026

The giants of Abu Simbel. Pure magic!

In the deep south of Egypt, Ramesses II ordered two temples to be cut directly from living rock as a declaration of divine power and love. Construction is usually dated roughly to 1264–1244 BC and took about twenty years.

Four colossal figures of the pharaoh, 21 meters (65 feet) tall sit in eternal stillness, each taller than a modern building, guarding a sanctuary aligned with the sun itself. The temple runs about 56 m (185 ft) into the rock through successive halls to a sanctuary containing four seated figures: Ptah, Amun‑Ra, the deified Ramesses, and Ra‑Horakhty. Because of its orientation, twice a year, sunlight penetrates the entire length of the temple to light three of the four figures; . Only Ptah, god of the underworld, remains untouched by light.

Beside this monument to power stands something rarer: a temple of devotion dedicated to the goddess Hathor and to Queen Nefertari, Ramesses II’s Great Royal Wife.
Here, Queen Nefertari appears not reduced, but equal—her statue the same height as the king’s. Dedicated to Hathor, goddess of love and harmony, it is one of the most extraordinary tributes ever made to a woman in ancient Egypt.

From 1964 to 1968, when rising waters threatened to erase this miracle, the world came together. The temples were cut into approximately 1042 massive blocks and reassembled 200 metres to the north-west on ground approximately 65 metres higher than their original position.
Due to their historical significance, the Nubian Monuments from Abu Simbel to Philae were inscribed on UNESCO’S World Heritage List in 1979.

23/01/2026

Fascinating visit to the mysterious Kom Ombo Temple.

As we sail to Aswan we stop in front of the temple dedicated to two deities: the crocodile god Sobek, and the falcon god Har wer (Horus the Elder).

Kom Ombo is a double temple, with twin sanctuaries and mirrored spaces dedicated on one side to Sobek, the crocodile god of fertility and creation, accompanied by Hathor and Khonsu.
• The other side is dedicated to Haroeris (Horus the Elder), a falcon god associated with kingship and protection, giving the site epithets like “House of the Crocodile” and “Castle of the Falcon.”

The design is almost perfectly symmetrical along a central axis: there are two entrances, two courts, two hypostyle halls, and two main sanctuaries, one for each divine triad

There is also a marvelous little crocodile museum with wonderful statues and rather scary crocodile mummies.

23/01/2026

Fascinating visit to the mysterious Kom Ombo Temple.

As we sail to Aswan we stop in front of the temple dedicated to two deities: the crocodile god Sobek, and the falcon god Har wer (Horus the Elder).

Kom Ombo is a double temple, with twin sanctuaries and mirrored spaces dedicated on one side to Sobek, the crocodile god of fertility and creation, accompanied by Hathor and Khonsu.
• The other side is dedicated to Haroeris (Horus the Elder), a falcon god associated with kingship and protection, giving the site epithets like “House of the Crocodile” and “Castle of the Falcon.”

The design is almost perfectly symmetrical along a central axis: there are two entrances, two courts, two hypostyle halls, and two main sanctuaries, one for each divine triad

There is also a marvelous little crocodile museum with wonderful statues and rather scary crocodile mummies.

22/01/2026

Magical morning in n the gigantic Temple of Edfu, one of the best‑preserved major ancient temples in Egypt and the principal cult temple of the falcon‑god Horus in the Greco‑Roman period. It is one of Egypt’s best‑preserved ancient sanctuaries and the great cult temple of the falcon‑god Horus.
Rising on the west bank of the Nile between Luxor and Aswan, this Ptolemaic masterpiece was built over nearly two centuries, from 237 to 57 BC.
Its towering pylons, vast courtyards, and shadowed hypostyle halls lead to a hidden sanctuary once reserved for the god himself.
Every wall is alive with carved myths of Horus and Seth, festival processions, and sacred rituals that read like a stone‑carved liturgy of ancient Egypt.
Buried for centuries beneath sand and village houses, Edfu emerged in the 19th century almost intact, preserving a remarkably complete vision of a late Egyptian temple.
Walking through its gates feels less like visiting a ruin and more like stepping into a temple paused in time.

21/01/2026

6:00 am at the Valley of the Kings. One of the most fascinating places imaginable; shrouded in mystery and legend, it is a place of silence, beauty and mysticism
Hidden in the desert cliffs on the west bank of the Nile, this sacred valley was the royal necropolis of Egypt’s New Kingdom (c. 1550–1070 BC).
Abandoning pyramids, the pharaohs chose discreet rock-cut tombs, carved deep into the limestone and aligned with beliefs about rebirth, the sun god’s nightly journey, and eternal life. Here were laid to rest rulers such as Tutankhamun, Seti I, and Ramses III.
The tomb of Rameses Ill is one of the longest tombs (188 m) in the Valley of the Kings. Located in the main valley, its layout follows the typical plan of the Nineteenth Dynasty tombs, though it has an unusual number of side rooms. It is one of the most amazing and beautiful things I’ve seen in my life! See photos.
Despite secrecy, many tombs were looted in antiquity—until the discovery of Tutankhamun’s nearly intact burial in 1922 reignited the world’s fascination with ancient Egypt.
The black and white photo is of my great grandmother, Queen Elizabeth of Belgium in January 1923 coming out of that tomb with Howard Carter the day after its official opening. The next photo is me yesterday by the entrance

21/01/2026

A morning of pure magic! Commissioned by Hatshepsut, one of the very few women to rule Egypt as pharaoh (18th Dynasty, c. 1479–1458 BCE), rising more than 30 meters high and stretching nearly 300 meters across the desert floor, the gigantic Temple of Hatshepsut is a masterpiece of Egyptian architecture, a political statement carved in stone and one of the clearest expressions of how power, religion, gender, and art intertwined in ancient Egypt.
Many scholars consider it the most refined mortuary temple ever built.
Carved directly into the cliffs of Deir el-Bahari, its vast terraces unfold with astonishing restraint: no excess, no noise, only perfect proportion. Colonnades march in quiet rhythm, ramps draw the eye upward, and the mountain itself becomes architecture. What appears light and effortless is, in truth, gigantic.

Built for Hatshepsut, one on the only women to bear the title of Pharoe, this was a declaration of power, a monument that symbolizes all that Egyptian royalty embodied without ever being heavy. From the top of this palace 3500 years are contemplating us.

⸻

21/01/2026

A morning of pure magic! Commissioned by Hatshepsut, one of the very few women to rule Egypt as pharaoh (18th Dynasty, c. 1479–1458 BCE), rising more than 30 meters high and stretching nearly 300 meters across the desert floor, the gigantic Temple of Hatshepsut is a masterpiece of Egyptian architecture, a political statement carved in stone and one of the clearest expressions of how power, religion, gender, and art intertwined in ancient Egypt.
Many scholars consider it the most refined mortuary temple ever built.
Carved directly into the cliffs of Deir el-Bahari, its vast terraces unfold with astonishing restraint: no excess, no noise, only perfect proportion. Colonnades march in quiet rhythm, ramps draw the eye upward, and the mountain itself becomes architecture. What appears light and effortless is, in truth, gigantic.

Built for Hatshepsut, one on the only women to bear the title of Pharoe, this was a declaration of power, a monument that symbolizes all that Egyptian royalty embodied without ever being heavy. From the top of this palace 3500 years are contemplating us.

⸻





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