If you read a textbook-style account of conflicts centering around the Protestant Reformation(s), it'll probably focus on theological disputes: justification by faith, the lay chalice, baptism, the meaning of "hoc est corpus meum," predestination... kind of thing.

'Treasure Gods' - Sangha Nidhi' and 'Padma Nidhi', Tirumala, Tirupati.

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These are the two guards guarding the Wealth and Treasure of Lord Sri Venkateswara.

They are representatives of two treasures of Kubera, the God of Wealth.

One guard who is holding shangam (conch) on both the hands is known as Shanka Nidhi ('nidhi' means wealth).

On the other side, the guard who is holding Lotus flowers on both the hands is known as Padma nidhi.

Shangu is from the ocean which includes all types of wealth like pearls and corals.

Why shagam in his hand? Because shangam only gives the sound of 'omkaram'.

'Padmam' is the symbol of water sources in land like river, lakes, tanks etc. which is very important for all living beings.

As per the tradition, these guards are installed at the third entrance of the temple.

One enters the holy shrine after saluting the first protection threshold - Sankha Nidhi and Padma Nidhi.

Agastya Muni & Kaveri River
#story
This is a story which describes how River Kaveri was brought on earth by Agastya muni. There was a king named Kavera lived in the Brahmagiri hills who prayed to Brahma for a child. He was blessed with a daughter whom he named Kaveri.

Agastya muni married her. A demon, named Shoorapadma, wanted to trouble people so he prevented rain from reaching South India. As a result famine occurred in South India.
Agastya Muni who came that way was very sad seeing this. He started to pray Mahadeva for a solution.

Shiva gave him small amount of Ganga water in his Kamandalu (small pot) and said wherever you spill this water the river will flow from there. Agastya Muni travelled lot of places to find a suitable place to pour water. Feeling tired he kept his Kamandalu and took rest.

At that time Ganesha took a form of crow and perched on the Kamadalu and made a hole that water began to flow as river Kaveri. This place is now called as Talakaveri (Karnataka), located in the Brahmagiri hill.

Tala Kaveri has temple for Agastheeswara, which denotes the story between Kaveri and Agasthya muni. Kaveri is a part of Ganga, thus, also called Dakshina Ganga.
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1) The Temple of the Divine Claudius was a vast temple complex on Rome's Caelian Hill, overlooking the valley that would later be occupied by the Colosseum. Though almost nothing now remains of the structure, its scale and grandeur once rivalled anything in the city.. #LostRome

2) The 'Claudium' was intended as a sacred complex to revere Claudius and the imperial cult. Construction began soon after the death and deification of the emperor in 54 AD, initiated by his widow Agrippina who was likely responsible for his supposed death by poisoning. #LostRome

3) The sprawling temple complex sat on a gigantic podium that spread across the Caelian Hill, measuring 180 x 200 metres; with towering retaining walls of travertine that raised the structure 20 metres above the valley below. #LostRome

4) The elevated sacred area was likely entered by steps facing the temple on the west side. The temple itself had a projecting hexastyle porch and was surrounded by gardens and a grand portico, probably the 'porticus Claudia' mentioned in Martial's 'On the Spectacles'. #LostRome

5) Statues of both Agrippina and Claudius’ ill-fated young son Britannicus, sculpted in sumptuous dark Egyptian greywacke, were discovered among the ruins on the Caelian Hill in 1651 – and had almost certainly been displayed in the temple precinct. #LostRome

I am reading through reams of late-1920s communist poetry and easily my favourite title so far is: "To a Lady who Rejected a Poem about Spring as a Petit-Bourgeois Deviation"

The last lines:
"So here's my hat into the air,
Three cheers for your amazing hair,
For coal mines, and for turbines, too,
For steel, the Comintern and you!"

A not exactly graceful (though possibly satirical) title: "Lines Disassociating Myself from Yessenin and Supporting the Otherwise Unfounded Legend that I am a Foremost Proletarian Writer"

An excerpt:
"Goodbye verses of Yessenin
Goodbye literary slop-
You are not the line of Lenin
You are not the line of WAPP

Never shall I moan a
simple lyric from the heart
I'll devote my new corona
to the proletarian art"

The poet was Joseph Freeman, who published much of his revolutionary verse in the New Masses, a stylish journal of the interwar American literary Left.