Achilles' heel / HYPOGEUM OF THE THREE BROTHERS.

An Achilles’ heel is a deadly weakness in spite of overall strength, that can actually or potentially lead to downfall. 

Achilles was the son of Thetis and Peleus, the bravest hero in the Trojan war, according to Greek mythology.

When Achilles was born, his mother, Thetis, tried to make him immortal by dipping him in the river Styx. As she immersed him, she held him by one heel and forgot to dip him a second time so the heel she held could get wet too. Therefore, the place where she held him remained untouched by the magic water of the Styx and that part stayed mortal or vulnerable.

Achilles fought heroically against the Trojans, but was killed by Paris,  who shot him with an arrow from behind.  Paris's hand was guided by Apollo who took revenge for the death of his son.

To this day, any weak point is called an "Achilles heel". We also refer to the strong tendon that connects the muscles of the calf of the leg with the heel bone as the "achilles tendon".

Syria - Palmyra (UNESCO World Heritage List, 1980). Ruins of the ancient city (1st-2nd century A.D.). Valley of the Tombs, tomb of the three brothers. Hypogeum, fresco.

The Valley of Tombs: HYPOGEUM OF THE THREE BROTHERS. An underground burial chamberThe door to this family tomb is approached down a long, modern ramp, and is a beautiful piece of carving. Richly decorated with architec- tural features, it is a delightfully balanced design. The great interest of the door lies in the inscriptions carved upon it regardless of any architectural context, which record that it was established by the three brothers, Male, Saadai and Naamain in the middle of the second century A.D. There is the placement for a lamp over the door. Through the heavy stone doors one enters, down a few steps, an inverted T-shaped chamber. Basically there are three arms radiating from a focal point by the door, each with recesses on either side in which were placed six loculi. There are sixty-five recesses in all, providing plentiful accommodation for generations of the family. The vault and walls of the main arm are of brick covered with painted plaster. The barrel vault is painted with a familiar pattern of hexagons in blue with gilded rosettes and flowers. Here again one has an example of that passionate love of geometric design which so fascinated Wood and Dawkins. There is a large central circular panel in which is portrayed the Abduc- tion of Ganymede. This was a favourite theme in Hellenistic times, in which the childishly pretty face of Ganymede was particularly favoured. The legend relates that he was the son of Tros of Troy, and was carried off by Zeus to be his cup-bearer. In recompense his father was given a breed of marvellous horses or, according to other ancient sources, a golden vine. The early sources of the story relate that Zeus wanted a handsome cup-bearer and, disguised as an eagle, descended and abducted Ganymede. In this version the eagle is equated with the constellation Aquilla, and Ganymede with Aquarius. As with all classical mythology, the form and content of the story vary according to date and source. The colouring has survived incredibly well and the state of these frescoes is remarkable. At the end of the main arm are a series of frescoes in the Graeco-Syrian style dating from the early third century A.D. Once again we have that curious blend of styles, the Hellenistic and the Oriental combining to create something highly individual. As with the usual oriental, ‘Parthian’, tradition the figures are placed in frontal poses, creating a rather lifeless effect, yet there is a Hellenistic swirl to the draperies for all their stiffness. In the lunette at the top, framed by the vault, is a scene from the Iliad with Ulysses discovering Achilles, wearing women’s clothing, amongst the daughters of Lycomedes, King of Scyros, where his mother had hidden him in a vain attempt to save her son from his fatal destiny. This theme is also portrayed in the mosaics in the Patrician Houses behind the Sanctuary of Bel. It is interesting why this subject should have been popular with the Palmyrenes. Appropriate enough a theme in a tomb because Achilles is the symbol of the eternal soul. Robed in borrowed, earthbound clothes which are not natural to him, he sheds these at death and thus liberates his soul to the timeless life for which he was created. But as the pavement of a house it seems to be a little strange, indeed morbid.