The Arbiter's Grounds
“The Gerudo Desert once held a prison built to hold the worst criminals this land has ever known . . . The criminals who were sentenced to death were sent directly to the underworld by a cursed mirror that was kept in the prison . . . Now that prison is condemned, and even the road leading to the desert is impassable. This desert at world’s end . . . It still holds the cursed mirror and the malice of the doomed inmates . . . ."
— Auru, Twilight Princess
— Auru, Twilight Princess
Soaring over the scarred face of the desert are six crested pillars which crown a structure created for judgment and execution. Towering to lofty heights, and visible for many miles, these pillars glorify the sacred history of Hyrule. Bearing the elemental medallions of the Six Sages and the Royal Crest of the Family of Hyrule, they are a sign of dominion over others, and of the hegemony of the Hylian civilization. As with so many ancient cultures, great military victories provided momentum for the construction of architectural monuments — as well as the cultural appropriation of that fallen society. For the Arbiter’s Grounds is not a structured whole, built at one time by one people, but a re-purposed edifice in which the styles and traditions of those who came before have been allowed to live on, though in different light and to different ends.
From afar, this is quite possibly the most striking complex in all of Hyrule. Its monumentality is a direct derivation of Egyptian and Roman models, which also gives it the distinct markings of empire. This is not the first time that the Hylian civilization has been likened to Rome, as there are a great many parallels between the two, both historically and architecturally. But even though its design is familiarly Western in nature, confusion and mystery still plague this location.
From afar, this is quite possibly the most striking complex in all of Hyrule. Its monumentality is a direct derivation of Egyptian and Roman models, which also gives it the distinct markings of empire. This is not the first time that the Hylian civilization has been likened to Rome, as there are a great many parallels between the two, both historically and architecturally. But even though its design is familiarly Western in nature, confusion and mystery still plague this location.
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As Link approaches the Grounds, weaving through Bokoblin fortifications and entrenchments, it becomes plain that these monsters are recent inhabitants, building around previously-molded walls and gateways. These uncompleted buildings that lie before the Grounds yield little information to us, and they may or may not have been a part of the original structure. These rooms-that-would-have-been are no more than shells, with empty windows, decaying walls, and indecipherable script different from both the Gerudo and Hylian alphabets. If the English translation for this location holds true, and this site was indeed a place of judgment, then perhaps these buildings would have eventually held prisoners awaiting trial or execution. The windows are relatively high, and quite thin, but, then again, the layout of the complex makes little sense if its purpose was to be a prison. Because these structures are in such nascent (or dilapidated) stages, they tell us precious little about their original function. Even before we come to the main edifice, then, there is a string of ruins that obfuscates our initial attempts to understand the ambitions and intentions of this structure. Like much desert construction, though, time and sand have accumulated around them, seeking to erase them from the earth.
Past the rubble and hastily-constructed earthen-works, the ascent to the main gateway becomes visible, and is notable for several reasons. An axial approach, so popular in the Egypt of antiquity, is employed here to draw visitors forward along one of the primary axes of the complex, so that the immensity of the construction is made manifest with every nearing footstep.
The approach consists of a large stair flanked by free-standing Doric columns and a low, simple balustrade. Doric columns, of all the classified orders, are the first and oldest major order, often identified by their fluting, their simple capitals, and their bulk and thickness. They are the least ornate, yet they are monumental in austerity. There are several iterations of these simple columns within the Arbiter's Grounds, some of which can be seen just below. With heavy gravity, these columns frame the staircase, carrying darkened fluting and small bands around each column at capital and base; these bands are of gold and brown, and appear to be of a different stone. The landing outside the entrance is enclosed by a tall iron fence bounded between high stone piers and truly massive columns of the same design as those seen on the staircase. Other columns, such as those seen farther below, are built of many bricks, making them rather angular, especially when we examine their capitals. These primary columns are capped by incomplete arches of stone and bracing, into which would have been set the Royal Crest of Hyrule.
Past the rubble and hastily-constructed earthen-works, the ascent to the main gateway becomes visible, and is notable for several reasons. An axial approach, so popular in the Egypt of antiquity, is employed here to draw visitors forward along one of the primary axes of the complex, so that the immensity of the construction is made manifest with every nearing footstep.
The approach consists of a large stair flanked by free-standing Doric columns and a low, simple balustrade. Doric columns, of all the classified orders, are the first and oldest major order, often identified by their fluting, their simple capitals, and their bulk and thickness. They are the least ornate, yet they are monumental in austerity. There are several iterations of these simple columns within the Arbiter's Grounds, some of which can be seen just below. With heavy gravity, these columns frame the staircase, carrying darkened fluting and small bands around each column at capital and base; these bands are of gold and brown, and appear to be of a different stone. The landing outside the entrance is enclosed by a tall iron fence bounded between high stone piers and truly massive columns of the same design as those seen on the staircase. Other columns, such as those seen farther below, are built of many bricks, making them rather angular, especially when we examine their capitals. These primary columns are capped by incomplete arches of stone and bracing, into which would have been set the Royal Crest of Hyrule.
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The columns along this pathway were likely not part of the original building, as they follow the Hylian tradition; rather, they were likely added as an afterthought, after the Hylians either conquered or discovered this structure. They are of the same style as those found in Lanayru Province, as seen in the Grecian amphitheater crowning the cliffs of Lake Hylia. And based upon their looks, they are likely of the same era. Perhaps the centuries preceding this Age of Twilight were fraught with imperialism and the expansion of territory. In fact, the use of the Royal Crest in such overabundance gives the air of forced-perception, as if those in power wished for their dominance to be known without doubt. Within the dungeon, signs of the Hylian civilization can be seen in nearly every single room. And not only this, but the coliseum astride the entire complex, with its six immense columns, unambiguously displays all the signs of triumphal architecture. If these speculative claims prove true, then this complex was likely conquered, its previous function obliterated, and its cultural heritage relegated to a place of inferiority. After the perfidy of Ganondorf, himself a Gerudo, perhaps vengeance was taken and a culture destroyed. This place was then given over to the Six Sages, and while it was in their charge, a comprehensive architectural undertaking was begun to assert the superiority of the Hylian civilization. And this is just a humble theory, yet its implications are anything but. If so, then the beloved Princess and Hero, by nature of their involvement with the kingdom, are complicit in cultural and religious genocide. However, the genocide was not complete. Remnants of the Gerudo culture can be seen throughout the Arbiter’s Grounds in its script and unique goddess statues. Like the attempted erasure of the Egyptian queen Hatshepsut by her successors Thutmose III and Amenhotep II, the existence of the Gerudo has been allowed to endure. [1]
Another possible explanation is one far more benign. It is equally as likely, for we truly have no knowledge of the history of this place, that the Hylians simply discovered these ruins and built atop them — the seeming overuse of their royal/religious symbol (for it is indeed religious, bearing the sacred Triforce and Loftwing) was only to give the derelict structure a new, solid identity. Wanting to keep a culture alive, the Hylians could have used Gerudo imagery in their building out of honor and reverence.
Another possible explanation is one far more benign. It is equally as likely, for we truly have no knowledge of the history of this place, that the Hylians simply discovered these ruins and built atop them — the seeming overuse of their royal/religious symbol (for it is indeed religious, bearing the sacred Triforce and Loftwing) was only to give the derelict structure a new, solid identity. Wanting to keep a culture alive, the Hylians could have used Gerudo imagery in their building out of honor and reverence.
Above: the unknown script of the Arbiter's Grounds upon the balusters and balustrade, with the Gerudo script directly below it. Here, it reads H-P-Reverse-P/Inverted-B (correct positioning unknown). The Hylian architects and designers may not have known the meaning behind the glyphs, which may explain their haphazard and incoherent usage throughout this temple.
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Above: a column bearing the Gerudo symbol set within an icon called a cartouche, derived from ancient Egypt. A cartouche was traditionally used to surround the name of a Pharaoh, and its shape is meant to depict a protective coil of rope. The carving of a name into stone, and its further protection through the symbolism of the cartouche, was to ensure that the name was not lost to history. [2] In the context of the Arbiter's Grounds, this phenomenon truly mirrors real-world history. The Gerudo symbol was etched into stone and surrounded by a sacred representation so that the Gerudo culture would live on, even after death and time had taken away its people.
The main gateway is in the style of New Egypt. This particular design takes its name from Greek, and is called a pylon gate. Structurally, it consists of two tapering towers topped with a cornice, which is joined by a slightly-lowered section which rests above the entrance. Designs such as this were archetypal in Egypt, in that most structures were of a post-and-lintel scheme with few openings, the focus being on stability. Temples such as these are splendidly preserved at places such as Edfu, a famous temple from the Ptolemaic period dedicated to Horus. The basic shape of this style of gate is derived from (or is at least reflective of) the hieroglyph akhet, or horizon; it is considered to depict the sun rising up from behind two hills, a metaphor for rebirth. Beginning here, and echoing throughout the temple, are doorways unique to this dungeon. Many have fragmented lintels, broken into different parts, across which stream stringcourses bearing the six medallions of the Sages. These symbols are found nearly everywhere within the Grounds, encircling the ruins and making known the powerful presence of the Sages.
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Above: the hieroglyph akhet — horizon, sunrise, and rebirth
Above left: the pylon gate of the Temple of Horus at Edfu — By Ad Meskens — Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=16880147 Below left: the main gateway into the Arbiter's Grounds. Notice the distinctive pylon structure of sloping walls and flat roof which surrounds the sloping portal. Several stringcourses are upon this architectural feature, including a line of unknown script and the stringcourse of the Sage Medallions, seen magnified at right. The broken lintel and its various protrusions are also depicted.
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As the ancient Egyptians were among the early pioneers of the first columns (the oldest stone columns existing in the stepped pyramid complex of Djoser built during the 27th century BCE [3]), it is fitting that this complex is so full of them, both free-standing and engaged. And like a crypt or mortuary temple, the ceilings vary from the spaciously high to the claustrophobically low. It remains unsurprising that the construction materials of this building, then, are what we would expect. The angularity of the cornices and walls is shaped of some combination of sandstone and limestone, which further vary in color — tan to dark brown, and several other shades within that spectrum. Peculiar glyphs and scripts run along the bases and capitals of some columns, and these symbols are inscrutable; the only scripts to be understood within the Arbiter's Grounds are those of the Gerudo and Hylians. But, once again, no chain of words or letters herein means anything whatsoever. As the Gerudo script is read left to right, and has a rather simple alphabet, the translations are simple yet unfulfilling.
Above: the Gerudo script on this wall reads ‘wawuzu’ on repeat; the markings seen in the middle of the relief sculpture are not part of any Hyrulean alphabet we presently know of.
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Above: between these two fluted columns (made not of one piece of stone, but of individual stone drums) is shown a pair of enigmatic images always seen together.
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But even if the possibilities for cultural richness and historical significance were overlooked, the atmosphere is perfectly set for a dungeon of this theme. Dim lighting, piles of sand and debris, and the strange epigraphy upon the walls all give the appearance of a tomb opening itself up to human exploration for the first time in thousands of years. As far as we know, Link is the first person to wander through these halls in recent centuries. And in a Howard Carter-like moment, the veil is pulled back to reveal a past splendor untouched for years.
The main hall (shown below) is the first capacious room, and although it is the nexus of several distinct passages within this dungeon, its primary focus is in its axial pathway leading to the deeper temple. The path forward is sunken below the other floor tiles, and lined with incomplete humanoid statues with no discernible appearance. Whether this was intentional or the result of the wear of time is not known, but this kind of ambiguity can be as terrifying as something clearly malevolent. Stone outcroppings high up on the wall are etched with markings depicting some creature of bone, and the circular relief below the chandelier is also curious. Its scripts means nothing insofar as the author can tell, and the strange, violent shapes are cryptic. Most noticeable, however, is the large staircase at the far end of the room. In this chamber the sigil of the Royal Family can be found upon many surfaces; it alights upon the torches, the portcullis, and upon the lintel of the great doorway. These ornaments are clearly newer additions to the older preexisting stonework of the stairs and columns. That this doorway is the only one carrying such insignia is not surprising. This is the passageway that leads to the heart of the temple, and from there to the Hylian construct atop this older structure — the coliseum and Mirror Chamber built to house the instrument used in exiling those deemed dangerous by the Royal Family to the netherworld of the twilight.
Also of note within this hall is the staircase near the right-hand door which is operated with a chain. These stairs differ in color, size, and style from the other stone surrounding them, and were likely added after the Hylian re-appropriation of this location as a means of concealing certain passages into the lower crypts. The mechanisms within this dungeon, regardless of those who designed them, are truly astounding. The chandeliers that reveal or block passageways based upon their positioning, rotating walls and rooms, and spinner-powered devices all reveal a civilization of great mechanical understanding.
Also of note within this hall is the staircase near the right-hand door which is operated with a chain. These stairs differ in color, size, and style from the other stone surrounding them, and were likely added after the Hylian re-appropriation of this location as a means of concealing certain passages into the lower crypts. The mechanisms within this dungeon, regardless of those who designed them, are truly astounding. The chandeliers that reveal or block passageways based upon their positioning, rotating walls and rooms, and spinner-powered devices all reveal a civilization of great mechanical understanding.
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Lower right: further on in the Arbiter’s Grounds is a funerary statue of some fallen hero or lord. His statue stands alone in this chamber, and this statue may very well act as a home for the ka, an aspect of the Egyptian conceptualization of the human soul. Carved upon the plaque before the statue is the Royal Insignia, meaning that this is likely a Hylian lord buried in a rather distinct way, or that the monument has been defaced, further diminishing the older culture. An unintelligible pseudo-Hylian script also appears on the plaque.
Echoing the massive, intricate wall reliefs of ancient Egypt, this temple has few walls that do not bear some form of carving or hieroglyphic. One of the most common motifs throughout this area can be subdivided into two distinct sections that are mirror images on repeat — without individuality or alteration. They rest at eye level throughout the complex, and are separated in their AB-AB-AB scheme by curved carvings not dissimilar from the ancient Gerudo alphabet. Both panels are similar at the utmost level, in that they begin with two curved lines probably representing clouds in the sky, and a series of cuneiform-like tally marks directly below them. Perhaps this is an early representation of the rain. Below these marking, however, the panels become distinct. In what I term the A (or Chaos) panel, there are three houses smoldering, as made clear by the pillars of smoke rising from their rooftops. And below this destruction is the clear shape of some monstrous creature; its horns, hooked shoulders, and clawed hands all distinguish it as something bent on sowing discord. The subsequent B (or Order) panel carries the same sky, but instead of houses burning, it shows three orderly towers standing proudly and untouched. And below this, or in front of it if these reliefs are meant to show perspective, is some form of protector spirit carrying a shield. Whether these images depict an historical event or are meant as a cautionary tale is unknown, though they likely carry some form of mythological significance.
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There are many other variants of panels in this crypt, although all are perplexing. The two images pictured above show the Spinner and Boss chambers, respectively; the Gerudo letters are in no order, and are interspersed with non-alphabetic markings. In the center of the sunken panels are large eyes with curvilinear etchings filling in the empty space. Needless to say, the crest of the Royal Family is also found here, ensconced by the Sage Medallions and a string of what appears to be pseudo-Hylian.
The first portion of this structure is dominated by the Poes, those souls who linger long after death. They and many other undead creatures contribute to the sepulchral feel of this place, and my intuition tells me that they act as guards, perhaps having been buried alive as tributes and a vanguard to escort certain souls to the far realm. Even in the second area of the dungeon are they present. This second section is focused upon the Spinner, which seems to have connotations reaching far beyond its functionality. The anteroom preceding the Spinner chamber has no lighting, and its circular layout perfectly draws our focus to a strange and uninviting spectacle. In the center of the room, an immense, runic sword lies embedded in the ground, and is sealed by means of a series of inscribed talismans. This strange magic is likely a form of amulet from Japan known as ofuda. Found in Shinto shrines, these talismans consist primarily of strips of cloth, wood, paper, or metal. The name of a kami, one of the multifarious Shinto spirits, or a protective spell is inscribed onto the material strip, and their purpose is protection from harm. [4] When these bonds are violated, the creature once sealed erupts from its prison; after his defeat, a gate opens, and the Spinner room is accessible. And this chamber is not of particular interest apart from the large golden symbol upon the wall over the treasure chest; it represents both the Spinner and the sun, life-giving source of energy and the origin of elemental fire.
Above: the sealed spirit of the Death Sword, covered in charms.
Right: the secondary part of the well-lit Spinner chamber. |
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Yet deeper into this site is a truly colossal room with no discernible function. Spinner tracks crisscross the air, circling around columns and flanking walls. The walls of the room are recessed, allowing sand to spill onto the ground where it is immediately swallowed up. Several statues are present here, and they are derivations of the Goddess of the Sand seen previously in the Spirit Temple from Ocarina of Time. These Goddesses vary greatly in posture, some sitting cross-legged, and some standing upright. Both variants are encircled by a large and threatening snake, and both offer fire in their outstretched hands. These statues are clearly antiquated, and appear to predate the markings left by the Hylians. In some way, these represent the heritage of the desert of Hyrule; and this does not mean that this was a temple of the Gerudo, or that it was itself the Spirit Temple. It simply means that its architects and engineers could have known something of the history of the region and wished to pay homage to it in terms of stone and space.
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Above and below are three different positions in which the Goddess of the Sands is most commonly featured. The top left picture shows her seated in a meditative pose, serene and untroubled; the top right is a more defensive stance, in which she seems to challenge the viewer; below those two images is the colossal room which seems an obstacle course for Spinner training; finally, the lowest picture, which depicts the Goddess as she stands in the midst of the coliseum above, seems to show her offering a gift of fire or light unto her devotees. Sadly, without a broader cultural narrative as a basis, interpretation of these poses or actions is all but impossible.
After the defeat of Stallord in a chamber that is truly magnificent in terms of stonework, access is granted to the Mirror Chamber above, wherein Link is told a part of the tragic history of this place. Guarded over by the large-order columns outside the circle of stone is the coliseum of the Arbiter's Grounds, which should draw up an immediate connection to one of the most famous buildings the entire world over. The Colosseum of Rome is perhaps one of the best known works of the Roman Empire. It is so named for its location beside the erstwhile Colossus of Nero — a large statue at the entrance to what was once Nero’s Domus Aurea. It was built upon the site of Nero's former dwelling place both for its location, as well as for more politically-minded reasons. Vespasian reclaimed the land held by the defeated emperor and gave it to the people, in a rather philanthropic gesture that is completely at odds with some of the events that took place within the walls of the Colosseum. Architecturally, it is a fantastic example of the Roman use of concrete, arches, and vaulting. A system of barrel vaults made of concrete holds up the seating area; the use of concrete and necessary buttressing allowed for structural support while still affording open areas for passage. The exterior travertine (a type of limestone) wall, which is roughly sixteen stories tall, consists of four bands. The lower three are arcades of the Tuscan, Ionic, and Corinthian orders, while the topmost level is graced with Corinthian pilasters. [5] This aesthetically-pleasing façade also affords all the structural and supportive benefits of Roman arches.
The coliseum atop the Arbiter’s Grounds is quite similar to its more-famous cousin. Whereas the Roman equivalent has four distinct sections, each of a different architectural order, this coliseum has only three. Its encircling arcades are thicker than those of the Colosseum, and the arches are separated by highly-angular engaged columns. Like the utmost level of the Colosseum in Rome, the third story of the coliseum in Twilight Princess is predominantly solid brick, but for small, rectangular windows which create an imposing air. The cornices separating each level form distinct overhangs and the utmost cornice projects far over the others, giving some shelter to the colonnaded walkway that wraps its way around to the entrance. On the interior, several of the cornices are emblazoned with the six Sage Medallions, representing Light, Forest, Fire, Water, Shadow, and Spirit.
The coliseum atop the Arbiter’s Grounds is quite similar to its more-famous cousin. Whereas the Roman equivalent has four distinct sections, each of a different architectural order, this coliseum has only three. Its encircling arcades are thicker than those of the Colosseum, and the arches are separated by highly-angular engaged columns. Like the utmost level of the Colosseum in Rome, the third story of the coliseum in Twilight Princess is predominantly solid brick, but for small, rectangular windows which create an imposing air. The cornices separating each level form distinct overhangs and the utmost cornice projects far over the others, giving some shelter to the colonnaded walkway that wraps its way around to the entrance. On the interior, several of the cornices are emblazoned with the six Sage Medallions, representing Light, Forest, Fire, Water, Shadow, and Spirit.
The Colosseum of Rome — By Diliff — Own work, CC BY-SA 2.5, https://commons.wikimedia.org/w/index.php?curid=2067974
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Finally, the grandeur of the Mirror Chamber presents itself. Inside the well-defined, spacious bounds of the exterior coliseum, encroaching sands have crept across the floor toward a vast statue of the Goddess of the Sand. Like the other depictions of this Goddess, she wears a strange headdress and is proffering fire in both of her hands. And, interestingly, with this statue, unlike all the others, the technology of the Spinner is built directly into her sacred serpent, which winds upward to the Spinner wheel upon her headdress. Activating this device drives the statue into the ground while subsequently unearthing an immense shard of ebon rock and the pedestal upon which rests the shattered Mirror of Twilight. But all is not as Midna and Link had foreseen. As is told to us, the Mirror has been broken, but not by the rightful ruler of the Twilight Realm, and therefore its fragmentation was incomplete. The Mirror had long been under the guardianship of the Sages, until their folly led to the destruction of one of their own and the impartial and ineffective banishment of Ganondorf to the Realm of Twilight. (From the six crests above the coliseum, we see that the Medallion of Water has been fractured, echoing the death of the Sage of Water.) The history relayed to us brings with it a host of interesting questions, most of which concern the timeline and the history of Hyrule. This structure may or may not have existed in the years surrounding the events of Ocarina of Time, though it obviously served the dual functions of providing both a prison and sanctuary for the Sages, wherein they could dispense judgment and mete out sentences. What is unclear is whether or not this was the original structure which housed the Mirror, or if it was later relocated here. Regardless, clearly this location has fallen into disrepair, both architecturally and in term of its inhabitants. If it once held sacred functions for Hylians or those that came before, they have been swallowed up by the malice of the forsaken inmates once held within.
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If Auru’s words hold truth, and the history of this place is indeed one of torture and damnation, then it should come as no surprise that it has been reclaimed by the damned. And if we view this location through the sociohistorical lens of Hylian hegemony, its environs also reflect the death of a culture. The history surrounding the Arbiter’s Grounds is unclear at best, and we are left with precious little to inform us; a tenuous history, the symbols of a culture long dead, the recent additions of the Hylian Royal Family, and its nomenclature all coalesce in an enigmatic structure hidden away at the edges of the world — a prison outside the collective mind of Hyrule’s citizenry subject only to the whims of the powerful and forbidden to outside influence. The nature of speculation is that it appears where truth is missing, and so theories abound which seek to explain this place — its history, culture, and purpose. We do not know why the structure was built in such a way, and it could have been out of dominance or deference, violence or veneration. Ultimately, as with all the best architecture, it connects with us on a human level, reaching out to our feelings, inspiring questions and answers, scaring us, confusing us, and inculcating appreciation. "We shape our buildings, and thereafter they shape us." [6] The Arbiter's Grounds shows us just how true that statement is.
Works Cited:
[1] Tyldesley, Joyce, Dr. "BBC — History — Ancient History in Depth: Hatshepsut and Tuthmosis: A Royal Feud?" BBC News. BBC, 17 Feb. 2011. Web. 12 Feb. 2017.
[2] "Cartouche." The Toledo Museum of Art. N.p., n.d. Web. 12 Feb. 2017.
[3] Kleiner, Fred S. "Chapter 3: Egypt Under the Pharaohs." Gardner's Art Through the Ages: The Western Perspective. Vol. 1. Boston: Wadsworth/Cengage Learning, 2006/2010. 44-45. Print.
[4] "Ofuda / Wrapping / Calligraphy." British Museum. Trustees of the British Museum, n.d. Web. 12 Feb. 2017.
[5] Kleiner, Fred S. "Chapter 7: The Roman Empire." Gardner's Art Through the Ages: The Western Perspective. Vol. 1. Boston: Wadsworth/Cengage Learning, 2006/2010. 180-181. Print.
[6] Quote attributed to Winston Churchill.
A Note:
Strangely, other Spinner paths can be found elsewhere in Hyrule, specifically in the mountain paths near to the Bridge of Eldin. They often lead nowhere, or simply facilitate movement over enemies. I do not know what to make of this, but it appears the engineers of the Arbiter’s Grounds were more prolific than previously imagined, or Hylian architects built upon older designs found buried in the desert.
[1] Tyldesley, Joyce, Dr. "BBC — History — Ancient History in Depth: Hatshepsut and Tuthmosis: A Royal Feud?" BBC News. BBC, 17 Feb. 2011. Web. 12 Feb. 2017.
[2] "Cartouche." The Toledo Museum of Art. N.p., n.d. Web. 12 Feb. 2017.
[3] Kleiner, Fred S. "Chapter 3: Egypt Under the Pharaohs." Gardner's Art Through the Ages: The Western Perspective. Vol. 1. Boston: Wadsworth/Cengage Learning, 2006/2010. 44-45. Print.
[4] "Ofuda / Wrapping / Calligraphy." British Museum. Trustees of the British Museum, n.d. Web. 12 Feb. 2017.
[5] Kleiner, Fred S. "Chapter 7: The Roman Empire." Gardner's Art Through the Ages: The Western Perspective. Vol. 1. Boston: Wadsworth/Cengage Learning, 2006/2010. 180-181. Print.
[6] Quote attributed to Winston Churchill.
A Note:
Strangely, other Spinner paths can be found elsewhere in Hyrule, specifically in the mountain paths near to the Bridge of Eldin. They often lead nowhere, or simply facilitate movement over enemies. I do not know what to make of this, but it appears the engineers of the Arbiter’s Grounds were more prolific than previously imagined, or Hylian architects built upon older designs found buried in the desert.