posted
WHITE SUPREMACY IS BASED ON FAKE, WHITENED PORTRAITS OF A BLACK EUROPEAN ELITE (1500-1789)
Sometimes it seems that the Afrocentric research at this site after Blacks in the Diaspora has come off from its real purpose: to liberate Blacks and show how White Supremacy is based on falsified history and fake portraits. I do not describe to views which make Afrocentricity a kind of reversed racism, because in this way nothing will be resolved. White's, who are not part of the elite, can be seen as victims too. Blacks who have joined the genocidal, imperialist elite are also the enemy. Blacks who harm other Blacks are no saints either. Here I notice a lot of blanket statements which need to be qualified and underscored with dates and sources or arguments to make any sense. There is always a reason and a rationale behind certain Eurocentric practises which should be unearthed, dated and shown to be invented towards keeping white power. This site offers a great opportunity, while it lasts, for Black researchers (and White researchers) from different parts of the world to freely communicate, inspire each other, offer new sources, and think along with each other. So this site should be used with great care, as long as it lasts. Personally I’m totally blown away by the fact that I can directly communicate with others who actually do research, because I almost never meet them where I live.
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LORENZO DE MEDICI (1449-1492), DUKE OF FLORENCE
[A sickening 19th century (?) fake of a black portrait by Vasari]
[By Giorgio Vasari (1511-1574)]
[Another horrible fake]
[REVISIONISM IN ACTION, RIGHT HERE: A BLACK EUROPEAN ELITE RENDERED WHITE BY FAKED PORTRAITS; LORENZO THE MEDICI, DUKE OF FLORENCE, DESCRIBED AS 'DARK AND SWARTHY WITH A FLATTENED NOSE']
AFROCENTRISM sometimes reminds me of a church with many different branches. I’m willing to countenance the other branches and believe that when 10% of all people, Black and White, are informed about the truth, things will rapidly change. If we could only work together, respect and accept one another.
But I’m convinced that my approach is new, very different but BETTER, as I look for the ORIGINS of Scientific Racism against Blacks and launched my BLUE BLOOD IS BLACK BLOOD theory. Racism needs to be deconstructed, exposed: we need a handle on racism and white supremacy thinking. How did it start? Why? When?
Afrocentric Egyptology has now been explored to death and only brain dead people will believe that the pyramid builders and pharaoh's were White’s. The traditional study of slavery is to me too traumatising for Blacks, and I'm not fond of all attention going to how backward Blacks remained in order to extract compensation money. Which will not benefit the poor Blacks, anyway. It sounds too much like convincing Blacks they were slaves and will always remain slaves. Slavery is only 500 years while Black civilisation is 10.000 years. Needless to say, some people do not like Egmond Codfried pointing out that the Surinam slave masters were European Blacks and Coloureds, part of the elite. Sometimes at odds with the rest of the elite because of religion.
I would like all of you to pay attention to my findings and find more proof that the Blue blooded European nobility and Kings were Black and Coloured people. Blue Blood was their Black Identity which made intermarriage their central rule of keeping power. They were the disciplined descendents of the original Europeans, who were known as Blue Men in Medieval times, from before the Whites invaded about 5000 years ago.
Why? Because the other approaches like Egyptology and Slavery are not working towards a change for Black peoples. To me Afrocentrism is not reversed racism. Whites are victims too. What would be the gain if we replace one kind of racism with another? While we all can proof that White Superiority is based on a revisionism of history supported by fake, whitened, over painted portraits, which show the Black elite as White's.
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The Blue blood is Black blood elite showed the looks of all kinds of Blacks. Some looked more Classical African, some more Asian or White. Their symbol for Blue blood was mainly the image of the Moor, always a pitch Black, Classical African. Next we see attributes of the hunt or swans, as only the nobility was allowed to hunt or keep swans.
Here I offer a portrait of a modern Caribbean Black writer and activist who, to me, shows a multitude of ethnic influences, yet can not be described as White. This is how I believe many of the European elite looked like. All these types married each other as (keeping) colour was the most important criteria to be recognized as Blue blooded and superior.
Mario Kleinmoedig
(1960, Curaçao) is specialist massacommunicatie, journalist en sociaal en politiek activist. Hij studeerde Sociologie en Massacommunicatie aan de Rijksuniversiteit Utrecht. Hij werkte van 1990 tot 1993 in Nederland voor het Internationale Persbureau IPS, dat zich vooral richt op Derde Wereld- en Oost-Europa journalistiek. Sindsdien werkt hij op Curaçao als voorlichtings- en educatiespecialist in de sectoren onderwijs, drugspreventie en milieu en natuur (tot heden). Kleinmoedig is mede-oprichter van de Curaçaose Milieubeweging en Mensenrechtenbeweging en activist voor de emancipatie van homo- en biseksualiteit op de Antillen. Hij is medeoprichter en bestuurslid van de politieke beweging Pueblo Soberano (Soeverein Volk). Als schrijver, acteur en verhalenverteller maakte hij in de jaren negentig onder andere deel uit van de Curaçaose verhalenvertelgroep Lingua Franca. Hij publiceerde het ecologisch kinderboek Zum Zum di Shinshon.
Source: winternachten 2008
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[The Threatened Swan: interpreted later as an allegory on Johan de Witt. Jaartal, voor 1652 Kunstenaar Jan Asselijn Techniek Olieverf op doek Afmetingen 144 x 171 cm Rijksmuseum, Amsterdam Objectnummer SK-A-4]
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Woven in Brussels in the beginning of the 16th century. It is exhibited at the Cluny Museum in Paris. This tapestry shows one of the favorite pastimes of nobility during the 16th century. Many of the scenes feature Nobles hunting, fox hunting, hawking or simply scenes of XVII and XVIII century Dogs.
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On to the southern end of Piazza Navona we find the Fontana del Moro, designed by Giacomo della Porto and erected in 1575. The fountain has statues of four Tritons and the basin is made of special antique rose marble. Giacomo della Porta created the fountain with sculpted tritons in 1574-1576, and Gian Lorenzo Bernini redesigned it 1654, adding the central statue "il Moro", an Ethiopian fighting a dolphin. The fountain is situated in the south of Piazza Navona in Rome, Italy. In 1654, Bernini carved the central figure, a muscular Triton riding a dolphin that resembles a "Moor". Thus, the fountain is called the Fountain of the Moor. During a restoration in 1874, the original sculptures were moved to the Villa Borghese and substitute copies were made and are still on the fountain.
Source : downloads
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Saint Maurice died during the Early Christian Era (3th century) in France, at the hands of a heathen European emperor, Maximian. He is supposed to be born in Thebes, but only during the later part of the Middle Ages, starting in the South of Germany, he became to be depicted as a Moor, a Classical African. After reading P.Kaplan's 'The Rise of The Black Magus in Western Art,' I realized that this iconographic propaganda was used to familiar Europeans with the notion that a Black could also be a good Christian: a good European. Until this time a Black figure stood for heathen or Muslim, a enemy of Europe. The Black Magi or Black King in Adoration scenes, were created for the same purpose: to show Blacks at the beginning of Christianity to dramatize Blacks as good Christians. Christianity being THE European identity.
quote: Saint_Maurice_Magdeburg. Saint Maurice in the Cathedral of Magdeburg, Magdeburg, Germany, next to the grave of Otto I, Holy Roman Emperor. The cathedral is actually named "cathedral of Saints Catherine and Maurice" after Saint Maurice and Saint Catherine of Alexandria. The sculpture was created around 1250, and is considered to be the first realistic depiction of an ethnic African in Europe. Unfortunately, the figure is no longer complete and misses the lower legs and an item in the right hand, presumably a lance.
Image taken by me -- Chris 73 Talk 11:17, 20 Aug 2004
Madame de Kerouaille with a Moor, a little girl, symbol for her Blue Blood. She was the Noble, French mistress of Charles II Stuart.(Whitened when accompanied by a Moor)]
[b]Louise Renée de Kéroualle Portsmouth, duchess of
The Columbia Encyclopedia, Sixth Edition Louise Renée de Kéroualle Portsmouth, duchess of , 1649-1734, French mistress of Charles II of England. She exerted a powerful influence over the king in favor of France—and to her own advantage—from 1671 until his death in 1685. She was made duchess of Portsmouth in 1673 and was the mother by the king of Charles Lennox, duke of Richmond. Hated by many English as a French-Catholic menace, she lived mostly in France after 1685.
Bibliography: See J. Delpech, The Life and Times of the Duchess of Portsmouth (tr. by A. Lindsay, 1953).
Download .
Title: Laura de Dianti with a Black Page Creator/Contributor: Aegidius Sadeler II, Flemish, 1568-1629; after Titian, Italian, b. 1488-90, d. 1576 Date: n.d. Contributing Institution: Grunwald Center for the Graphic Arts, UCLA Hammer Museum
Vanwege mijn onderzoek beschouw ik afbeeldingen van het Moortje als symbool voor het Blauw bloed van de geportretteerde personen.
Because of my research I consider images of The Moor as symbols for the Blue Blood (=Black Blood) of the portrayed person.
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[Anne of Denmark (1574-1619), wife of James I, grandmother of Charles II The Black Boy: from a costume design for The Masque of Blackness (1612): The daughter of the Niger river]
quote: Wikipedia: Anne of Denmark, c.1605, by John de Critz. "Her features were not regular but her complexion was extremely fair and she had the finest neck that could be seen, which she took care it should be."
Yeah, right!
Descendents of Charles II Stuart THE BASTARDS OF MOSCATI
Charles Lennox, 1st Duke of Richmond From Wikipedia, the free encyclopedia
Charles Lennox, 1st Duke of Richmond. Painting by Sir Godfrey KnellerCharles Lennox, 1st Duke of Richmond and 1st Duke of Lennox, 1er Duc d' Aubigny (29 July 1672 – 27 May 1723), was the illegitimate son of Charles II of England and his mistress Louise de Kérouaille, Duchess of Portsmouth.
Lennox was created Duke of Richmond, Earl of March and Baron Settrington in the Peerage of England on 9 August 1675 and Duke of Lennox, Earl of Darnley and Lord Torbolton in the Peerage of Scotland on 9 September 1675, and was invested as a Knight of the Garter in 1681. He was appointed Lord High Admiral of Scotland, under reservation of the commission granted to James, Duke of Albany and York (later James VII) as Lord High Admiral for life. The appointment was therefore only effective between 1701 and 1705, when Lennox resigned all his Scottish lands and offices.
Took part in Jacobitism before making peace with William III of England.
====================================================== First researched by Charles Said Vassallo, from the archives of the Late Baron di Bauvso, Malta. 1st of January 2000. The original research carried out by my Great Grand Father in the Early 1920's, though never published.
1. King Charles II of England, Scotland, and Ireland.
(R 1660-87) To see all of his descendants - Press Here: 1.1. (His Mistress Renee de Penacourt de Keroualle, Duchesse d'Aubigny, Duchess of Portsmouth.) Sir Charles Lennox, K.G., 1st Duke of Richmond & Lennox, died 1723. 1.1.1. (His mistress, Jacqueline de Mezieres) Renee de Lenox (1709-74), her lover was her cousin the 2nd Duke of St Albans. 1.2. .[illegitimate by Eleanor [Nell] Gwynne] Charles Beauclerk, Duke of St.Albans, b.London 8 May 1670, d.Bath 10 May 1726; m.17 Apr 1694 Lady Diana de Vere (d.15 Jan 1742), with issue. 1.2.1. Sir Charles Beauclerk K.G, 2nd Duke of St Albans (died 1751.), married 1722 to Lucy Werden, with issue. 1.2.1.1. (from his lover Renee de Lenox) Diane de Beauclerk-Lenox (1727-London) 1.2.1.1.1. (By Sir Simon, 1st Earl Harcourt) Christopher Harcourt ( 1740-74); Brought up by the Harcourts themselves, and served the army retired as a colonel. Married in London to a Trotter and left issue. 1.2.1.1.1.1. Simon Harcourt (1770-Believed to have moved to the U.S 1.2.1.1.1.2.Edward Harcourt (1773-Believed to have moved to Canada 1.2.1.1.1.3. Alexander Harcourt (1775-Believed to have moved to U.S 1.2.1.1.1.4. Sophia Harcourt (1772-, married an American. 1.2.1.1.1.5. Renee Harcourt (1778-married to a Steward in London. 1.2.1.1.2. (By Charles de Bourbon, Comte de Charcolais) Marie de Bourbon 1741-68. Brought up by the Bourbon-Conti's and by her mother in Munich. She married a Bavarian Nobleman and left issue. 1.2.1.1.3. Louis de Bourbon ( 1742-81) Grew up with the Bourbon-Conti's and served the army. Married an Heiress of Lordship status and took her surname and had issue. (d'Essenge !)
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A GORGEOUS MOOR! THE SYMBOL OF BLUE BLOOD SHOWING OF THE RICHES AND GOOD LIFE NOBILITY BRINGS TO IT'S MEMBERS
TITLE: A Still Life with a Moorish Servant Standing Behind a Table
A Moor as the symbol of Blue Blood. Alway shown as a Classical African. Enjoy! I do not regard him as a servant, and these kinds of paintings are images and not portraits of a real Black person. If they were real, what was their name, and what happened to their Black offspring? ================================================
ARTIST: Juriaen van Streeck CATEGORY: Paintings MATERIALS: Oil on canvas MARKINGS: Signed SIZE:h: 90.5 x w: 80 cm / h: 35.6 x w: 31.5 inc REGION: Dutch STYLE: Old Masters PRICE*: Contact Gallery for Price GALLERY: Salomon Lilian BV (+31) 20-6206307 Send Email DESCRIPTION: Little is known of the life of the painter Juriaen van Streeck. He was clearly influenced, however, by the work of the famous painter of still lifes, Willem Kalf (1619-1673). The early biographer of painters, Arnold Houbraken, praises Kalf as the artist who perfected the pronk still life. This type of ornate and sumptuous still life was very popular in Amsterdam. In the present pronk still life by Juriaen van Streeck, the materials are brilliantly handled and the colours are dazzling. The richly dressed young black servant [EC: NOT A SERVANT!], with a faint smile playing about his lips, appears before a parted velvet curtain, holding an empty roemer. He seems to be drawing to our attention to the opulent still life before him, in which are displayed items that were of great luxury and value at that time. A blue and white kraak porcelain bowl filled with peaches and a lemon is tilted at an angle upon a luxuriant velvet drape fringed with gold tassels, so that the inside of the bowl can be seen to the best advantage. Just protruding over the edge of the marble ledge is a brilliantly polished silver dish; an orange and walnuts are reflected on its surface. Behind these is a bunch of grapes decoratively fringed with leaves, a roemer, a loaf of bread, and an ornate silver ewer. The presence of the Moor holding a wineglass is rare, and is a device borrowed from the art of portraiture. The delicate porcelain bowl is characteristic of the reign of the Ming emperor Wanli, which ended in 1620. Known in Holland as kraak (carrack) porcelain, most of these blue and white dishes were produced in China for export to the West and are often encountered in Netherlandish still lifes.
Van Streeck’s still lifes display extraordinary technical achievements. His artistic ability is especially evident in the differentiated textures of drapery, porcelain, silverware and glass. He used the technique of trompe l’oeil, to convince the onlooker that what he sees is not a painting of objects, but actually the objects themselves. In this way, the artist creates a sense of three-dimensional reality. This technique can be seen in the present painting in the way in which the fringe of the velvet drape hangs off the ledge into the foreground, and in the silver plate projecting out into the viewer’s space. A similar painting by the artist, also featuring a Moor, is in the Alte Pinakothek, Münich.
PROVENANCE: Private Collection, The Netherlands [/QB][/QUOTE]
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Edmund, none of these medieval people were black and if they had any African ancestry it was a small amount, if at all. Some of the medieval royal families had black ancestry, but that does not make them black, even if this black ancestry is covered up. And it is not always covered up. Alexander Dumas and Pushkin are two examples of famous Europeans with African ancestry. But African ancestry does not always equal black skin. Many people with African ancestry are VERY WHITE with only small hints of their African blood.
So you are over exaggerating the black blood and blackness of certain figures from medieval European history and trying to make them into blacks when they were not.
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Are you kidding me? Black-a-moor servants were all the rage of European nobility who had to have them as a sign of affluence. Often enough they were highly pampered almost family members (or family "pets") who on occasion parented family members who if obviously of African stock were hidden from the public eye.
But you know all this already. There's no mistake you are modeled after a peculiar aspect of J. A. Rogers' works in general and Nature Knows No Colorline in particular. So do Rogers' proud and don't fudge the facts. Come straight out with it like he did based on his innumerable footnoted reference sources.
quote:Originally posted by Egmond Codfried: . . . .
TITLE: A Still Life with a Moorish Servant Standing Behind a Table
... I do not regard him as a servant, and these kinds of paintings are images and not portraits of a real Black person. If they were real, what was their name, and what happened to their Black offspring?
. . . .
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Having black servants does not make European nobility black or an institution based on blackness. Edmond is not simply saying that some Europeans have black African ancestry. He is saying that the black African ancestry among European nobility, however small or large, makes medieval European nobility BASED ON black African blood lines, which is absolutely not true. It is also not true that the presence of black blood makes European nobility black, as many people period with black African ancestry are QUITE WHITE.
Equating the scholarship of J.A. Rodgers with the trollish nonsense of Edmund is an insult to Mr. Rodgers and his work.
And, going to the point of the thread, Edmond has NOT shown ONE PORTRAIT of any European noble that WAS NOT WHITE or whose portraits were whitened because they were black. The ONLY blacks he has shown photos of are the servants and people like St. Maurice. So he HAS NOT proven his own point.
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someone start the twilight zone music here, the inmates at the black mental institution are back in the computer lab.
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Whatever one may think of Egmond he is a 'student' of J. A. Rogers and to his credit Mr. Codfried's credit he has presented some fine works of art worthy of any collection of black portraiture in Western art.
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[29 pages of the NPG collection featuring black and white portraits of Charles II Stuart, named The black Boy]
[Henrietta Maria, Queen of Charles I of Britain, mother of The Black Boy, aunt of Louis XIV of France, daughter of Maria de Medici, Queen of France]
As you leave Parliament House you will be confronted by the statue of Charles 11 as a Roman emperor astride a heavy charger.
The oldest lead statue in Britain, put up in 1685, it was originally going to be of Oliver Cromwell, but the council hastily changed their plans at the Restoration. Later, in the 18th century, they painted it white, which prompted James Boswell to write:
The milk-white steed is well enough, But why thus daub the man all over, And to the swarthy Stuart give the cream complexion of Hanover.
The statue is nicknamed 'Two-faced Charlie' because of the little face attached to the buckle on the back of his suit of armour.
Over the years at the Black Boy Inn, there has been much debate as to how this lovely country inn came to gain its name. Built in the mid 16th Century, history leads us to believe that it may have been named after King Charles II who was born with a very dark complexion and was, during the civil war, sometimes referred to as ‘the black boy’. The following extract is taken from English Monarchs, The House of Stuart.
“Charles' appearance was anything but English, with his sensuous curling mouth, swarthy complexion, black hair and dark eyes, he much resembled his Italian maternal grandmother, Marie de Medici's side of the family. During his escape after the Battle of Worcester, he was referred to as 'a tall, black man' in the parliamentary wanted posters. One of the nick-names he acquired was 'the black boy'.”
However there are other stories too. Reflecting the early slave trade, there is the story of the young black boy found hiding in the cellar and also that of the local village woman who purportedly gave birth rather unexpectedly to a dark coloured child. Turning to the archives, the Banbury Museum on the other hand tells us that prior to being an inn, the Black Boy may have been a tobacconist as they used to be called Black Boys around this time.
If you have any thoughts or ideas, do let us know. The same applies to our resident ghost. None of the current team has met with her yet!
source: The Black Boy inn site
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But none of these images above of Charles Stuart, Diana Poitiers, Francios de France and so forth ARE ALL WHIITE Edmond. Swarthy does not mean black Edomnd. You have YET to show any recent black African ancestry for these individuals.
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16th century French Noble, Francois de la Noué, historian, military leader of the Huguenoths. Played a role in Dutch history
François de la Noue From Wikipedia, the free encyclopedia
François de la Noue (1531 - August 14, 1591), called Bras-de-Fer, one of the Huguenot captains of the 16th century, was born near Nantes in 1531, of an ancient Breton family.
He served in Italy under Marshal Brissac, and in the first Huguenot war, but his first great exploit was the capture of Orléans at the head of only fifteen cavaliers in 1567, during the second war. At the battle of Jarnac in March 1569 he commanded the rearguard, and at Moncontour the following October he was taken prisoner; but he was exchanged in time to resume the governorship of Poitou, and to inflict a signal defeat on the royalist troops before Rochefort.
At the siege of Fontenay (1570) his left arm was shattered by a bullet and later amputated; but a mechanic of La Rochelle made him an artificial iron arm (hence his sobriquet) with a hook for holding his reins. When peace was made in France in the same year, La Noue carried his sword against the Spaniards in the Netherlands, but was taken at the recapture of Mons by the Spanish in 1572.
Permitted to return to France, he was commissioned by Charles IX, after the St. Bartholomew's Day massacre, to reconcile the inhabitants of La Rochelle, the great stronghold of the Huguenots, to the king (see Siege of La Rochelle (1572-1573)). But the Rochellois were too much alarmed to come to terms; and La Noue, perceiving that war was imminent, and knowing that his post was on the Huguenot side, gave up his royal commission, and from 1574 till 1578 acted as general of La Rochelle.
When peace was again concluded La Noue once more went to aid the Protestants of the Low Countries. He took several towns and captured Count Egmont in 1580; but a few weeks afterwards he fell into the hands of the Spaniards. Thrust into a loathsome prison at Limburg, La Noue, the admiration of all, of whatever faith, for his gallantry, honor and purity of character, was kept confined for five years by a powerful nation, whose reluctance to set him free is one of the sincerest tributes to his reputation.
It was in captivity that he wrote his celebrated Discours politiques et militaires, a work which was published at Basel in 1587, La Rochelle in 1590, London (in English) in 1587, Frankfurt on Main (in German) 1592 and 1612 and had an immense influence on the soldiers of all nations. The abiding value of La Noue's Discourses lies in the fact that he wrote of war as a human drama, before it had been elaborated and codified.
At length, in June 1585, La Noue was exchanged for Egmont and other important prisoners, while a heavy ransom and a pledge not to bear arms against the King of Spain were also exacted from him. Until 1589 La Noue took no part in public matters, but in that year he joined Henry of Navarre against the Leaguers. He was present at both sieges of Paris, at Ivry and other battles. At the siege of Lamballe in Brittany he received a wound of which he died at Moncontour on the 4th of August 1591.
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Fake whitened portrait of Queen Henriette Maria, the mother of The Black Boy
A Black portrait of Queen Henriette Maria de Bourbon, wife of Charles I Stuart of Britain, sister of Louis XIII of France
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posted
WHITE SUPREMACY IS BASED ON FALSEFIED PORTRAITS OF THE EUROPEAN BLACK ELITE (1500-1789)
By the grace of the almighty I was lead to invent a theory BLUE BLOOD IS BLACK BLOOD, which answers many questions about European images of/ or images with Blacks and the beginnings of Racism from Whites against Blacks.
CENTRAL QUESTION: What did the Blacks do against the Whites to universally deserve so much irrational ridicule, hatred, indoctrination, oppression, exploitation, murder and genocide?
What happened with the original African type Europeans after the Whites invaded Europe from Asia, 5000 years ago? Did they totally disappear? Did they die out? Did they all intermarry with Whites?
According to a map in Coon’s The Races of Europe (1961), the narrow skull type is found in the North of Europe and in the South of Europe. Africa is uniformly narrowed skulled. The middle of Europe shows a connection to Asia with the broad skulled type appearing like a invasion, pushing the narrow skulls North and South. Coon discusses religious communities in Europe were through geographical isolations a certain body; facial and skull type was preserved by intermarriage.
To this I add that documented geographical pockets of Blackness have survived in Europe like the South-West of France, The Pays de Vaud in Swiss, The Black Forest in South Germany, the area between Tournai and Cambrai and perhaps the province of Zeeland in the Netherlands too.
Blackness can also be preserved by conscious intermarriage, by a group who is not geographically isolated, but lives among other ethnicities. This can become a tradition to keep some kind of ‘racial purity’ or keep and acquire more wealth and political power. The Chinese revere their ancestors and partners of another ethnicity are viewed as a break in the chain. This practice I recognize in the European Nobility and Royal families. Through a long disciplined tradition of intermarriage they appeared much blacker in looks too, then the rest of the Europeans, because they found their colour very important. Light skinned freely marrying darker skinned to upgrade the level of Blue Blood.
I have concluded that original Black Europeans did not die out, but remained, while their ranks might have been swelled by Black and Asian immigrants who brought the Classical Knowledge and Science, which started the Renaissance. The Renaissance began at the end of the Middle Ages (500-1500) and made Europe into what it appears today. Until this new era European Blacks were named Blue Men. Several stories and myth’s exist about these Blue Men in Europe. They appear as separate communities, but also as part of more White nations as the Vikings. Somehow this Blackness survived the invasion of Whites by conscious intermarriage among European Blacks
Blue has always been a euphemism for Black. A group of medieval baptised Saracens were described as ‘Blue and Black as molten lead.’ The colour Black was connected with negative concepts as Muslims and heathens. But ‘good’ Christian Blacks had to be seen separate from ‘bad’ Blacks, enemies of Europe. So European Blacks were depicted as Whites to distinguish them from the Black non-Christian nations, which attacked Europe. Until this iconographical devise did not suit its purpose anymore, as European Blacks, who most likely considered themselves the real Europeans to begin with, wanted to be recognized in their own right as a superior, cultured and military elite.
How did Egmond Codfried came to study the European Nobility and Royalty? Why do I say that Blue blood is Black blood?
I was researching the history from my native Surinam. Most sources are kept in The Netherlands, the former colonial master, just ten minutes from my home in The National Archives. After studying the (hand) written sources I turned to look for portraits to see what these wealthy and powerful Surinam planters and governors, who enslaved some of my ancestors, looked like. But was surprised that there were very few portraits available, where there must have been thousands of portraits of these persons who are, in every sense, my ancestors too.
But then I stumbled on one portrait of Maria Jacoba van Goor (1687-1737), which became like a key to unlock the Blackness hidden behind the multitude of faked, White portraits. She looked African and was the grandmother of Baroness Isabelle de Charrière (1739-1805), known as Belle van Zuylen in the Netherlands. A famous feminist writer who is well documented because of her many private letters that survived. Her family castle is today a museum dedicated to De Charrière. She is depicted as White on the images that we get to see. Her grandmother and other members of the rich Van Goor family are not on display.
What inspired me was my anger that her biographers did not include the obviously Black grandmother in their huge, heavily illustrated books. Her money, made in slave trade and colonisation, went into an important renovation of the castle. Her granddaughter inherited from her grandmothers’ estate but struggled in her many works with an ‘ill-begotten fortune.’
De Charrière described herself as ‘She does not have the White hands; she knows it and even jokes about, but its [skin colour] not a joking matter.’(1764) She tells the world that she is not White, and somehow it’s problematic. I came to understand that her ‘noble’ colour was problematic because the despotic elite, who faced growing resentment, was coloured. She writes a poem ‘About his black brown colour’ (1764) (A son teint noir et basané) about baron Aarnout Joost Van der Duyn van Maasdam. She praises his colour and describes him as a good Christian. She compares him to the war god Mars. Mars, the lover of Aphrodite, was always depicted as Black. She says that colour does not say anything about merit. He was the highest military leader of the Southern Netherlands, from one of the oldest, Noble families. Belle returns a few times to this theme of the famous Blackness of the Van der Duyn family.
As does one of her suitors and later friend, Noble Scotsman and author James Boswell. His grandmother, Veronica van Aerssen, was a sister of Surinam governor Cornelis van Aerssen, and they were from the richest family in The Dutch republic. Two grandsons of Van Aerssen became governors as well. Baron van der Duyn van Maasdam married Anna Margaretha van Aerssen, a granddaughter of Cornelis van Aerssen. Boswell described his niece as ‘Mrs Maasdam black as chimney.’ About her husband, Baron van der Duyn, he wrote: ‘Her Husband chimney sweep.’
Yet, when I made a beeline to see the portrait of this supposedly very black looking powerful, Dutch baron I was shown a White man, with blond hair and blue eyes! This portrait is printed in important scientific works too, and is the only portrait of him that is released by the family and their descendants. His wife’s portrait is mentioned in a catalogue, but remains undocumented. In letters I have seen, there is mention of more Van der Duyn family portraits, but they remain unseen. Baron Maasdam’s sister is depicted as a blindingly white woman. But his daughter baroness Anna van der Duyn and granddaughter Sophie Wilhelmina, the Countess of Bylandt appears to be coloured. As does his grandson Adam Francois van der Duyn van Maasdam who played a important roll in establishing the Orange family as the Royal family in 1813. His cousin George Keppel however appears as a swarthy type in an engraving, showing the famous ‘noir et basané’ of this old Noble house. This portrait disappeared from Internet after I discussed it, as my research is criminally monitored by Euro trash and (unsuccessfully) sabotaged.
This is a sample of the facts, which launched my research, because the existing literature did not provide answers about how these Black described and Black portrayed people became the European Nobility. To me they are Blacks in the Diaspora who identified with Africa, with Egypt as well as the Niger River.
James Boswell is a major source of personal descriptions, which are at the basis of this research. The portraits are secondary in an important but supporting role:
He describes himself as ‘Black.’ His yet unborn illegitimate child should be named ‘The Black Prince’ because according to Boswell, ‘both its father and mother are Black.’
A biography describes him as ‘Swarthy, with black hair and black eyes.’ This same biography mentions that none of these traits are seen on the portrait he ordered in Italy during his Grand tour, but does not ask after the: ‘Why?’. So a self-described Black European Noble orders a fake, whitened blondish, rosy-cheeked portrait of himself. Why? Because in this era they took to painting their faces white with lead and arsenic laden face paint and wearing blond wigs, to hide their Blackness, which came under fire. The heavy metals made the paint also a bleaching agent, poisoning some of them too, like Napoleon.
Boswell describes his master J.J Rousseau as: ‘A genteel Black man in an Armenian coat.’
Charles II Stuart is described by Boswell as ‘The Swarthy Stuart.’ King Charles II was also known as The Black Boy.
Where have the Black portraits gone? Why do we not get to see them? What is wrong with these images for them to be kept a secret or to have them destroyed?
It should be noted that one does not always have to show black complexion to depict a coloured person. Frizzy hair can be altered to appear straight. Then even today some Blacks are depicted as Whites for commercial reasons, to sell records or cosmetic products. There have always been ideas about beauty in Europe that revolved around Greek ideals. So at some times it was fashionable to have one’s portrait painted as a White looking person. My research show that such a fellow might even have been described as ‘black brown’ in real live.
Many portraits of the elite are mentioned in catalogues or inventories but their whereabouts remain unclear. I found one mentioned where a son of an 18th century Surinam governor ordered his whole collection of family portraits to be destroyed. The reason is unclear. His mother was identified by a later family member as ‘a mulatto.’ I consider her a ‘mulatto-type’ from mulatto type forefathers, who intermarried. Not a mulatto in the classic sense, as a child of a White and a Black.
They are destroyed or kept hidden because the image shows a Black or Coloured European person. Some European masters got mixed up with their own Surinam slaves and became even blacker. The moneyed descendents of Surinam slave masters marrying into the cash hungry European Nobility. P.Kaplan’s; The Rise of The Black Magus in Western Art (1985), shows Moors (1300-1500) which are mostly images and not portraits. But he also shows some black mulatto types that strike me as real portraits of European Blacks. They are anywhere between Blacks and Whites, showing features of both groups. I have defined them as ‘an endogamous, fixed mulatto race, who identified as Blue Blood, with some members more African or Asian or White in looks.’ The identity, expressed through intermarriage, appears to me more important then looks. As long as a person was not White in looks, they could be considered Noble. People were born into the Old Nobility; it was not only a social construct, but also a biological reality.
The later post French Revolution descendents, when being Black was not considered superior anymore, took to breeding White off spring. With black colour used in the 19th century to declare peoples inferior, nobody wanted to flaunt their Black ancestors anymore. So authentic portraits were over painted with beige, or copied as Whites. Sometimes anonymous paintings were bought at auction and family arms painted on them, to pass for ‘ancestors.’
The falsification of portraits is pure Revisionism. In this case eurocentricty wants to hide a Reversed Apartheid Era when Blacks dominated White Europeans. The Black achievements are used as some war booty by the victorious White’s, who have re-written history as well, as victors are apt to do.
When did the image of the Moor first appear in art? Why? What do the Black Madonna’s mean? Was there Black superiority in Europe?
Based on P.Kaplan The Rise of The Black Magus in Western Art (1985) the first Moor was depicted in Western Art in the first half of the 13th century, namely St Maurice. A heathen European emperor named Maximilian, had the sainted Maurice killed in the year 300. Until his marked veneration in Magdenburg, South Germany, he was depicted as White. Between 1300 and 1400 images of a Black King, always a gorgeously dressed young man of the Classical African type; appeared in Adoration scenes. By 1500 this motive was adopted in the whole of Europe. It placed a Black King in the centre at the beginning of Christianity. So it was a propagandistic devise to make Black Kingship in Europe acceptable to the White majority. Just like Whites today were primed for the coming of Obama by films featuring Morgan Freeman as president or some other positive character instead of some second-class citizen or god forbids, a criminal.
Some of these Black Kings took to comparing themselves with god, were shown on the same scale as Jesus. They showed themselves to be crowned by god himself. As their colour stood for superiority, they had no use for a White god. The first Christians were ethnic Jews, and early Christianity sprang up in Africa, where Maria and Jesus were depicted as Blacks. A book, which collects images of The Black Virgin of Du Puys, France, shows to my astonishment Whites in devout adoration for a Black Madonna.
The Drake Jewel (1575) shows the profile of a Black King eclipsing that of a White woman, meaning Black superiority in Europe. As does a cameo on a Medici candelabrum does.
The French Revolution ended these practices. By beheading Louis XVI and his wife, Marie Antoinette of Habsburg in 1793, the spell of Black superiority and Black invincibility was broken. The rule of the Black Nobles was broken.
What about Scientific Racism? Why was it invented?
Everyone who is not racist and has a brain will notice how overdone and mean spirited Scientific Racism (1770) is. It’s overkill, extremely un-empirical and thus unscientific in essence. They have created the ugliest images of Blacks to proof that they resemble apes. They produce false skull measurements. They created false antiquities, displayed them in museums, to proof that the pharaohs who build the pyramids were Whites. They stripped authentic antiquities from their pigments to make them appear White. They do not recognize Black scientist. They hide facts like the Olmec heads that show that Blacks were already travelling between Africa and the Americas in 800 BC. They came up with this Caucasian nonsense about East Africans being Caucasians, thus White. They divided Africans up in South of Sahara and North of Sahara, with the SSA being inferior because of their supposed looks.
So clearly, 18th century Whites and others had to come up with a propagandistic tool to counter Black Supremacy and Free Europe from a certain despotic and cruel oppression. I have reason to believe that the Black elite considered White’s as some kind of cattle, with their skins to be used as leather to bind fine books, for fine collections. The Black elite adorned itself with pearls. Pearls seem to symbolise Whites as subjects and means to riches too. So Scientific Racism attacked the very symbol of Blue Blood, the image of a Classic African, or a ‘SSA’ type, as ‘inferior, ugly, stupid, childlike, disease ridden, ape like, primitive, mean spirited, ungrateful, dirty, prone to die out, uncivilized, unable to live under a regulated government, cannibalistic etc.’ Forcing on us today over paintings of the black portraits of the Black and Noble, Royal and intellectual European elite. Posts: 5454 | From: Holland | Registered: Aug 2008
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posted
White Supremacy is Based on Falsified Portraits of the European Black Elite (1500-1789)
By the grace of the almighty I was lead to invent a theory BLUE BLOOD IS BLACK BLOOD, which answers many questions about European images of/ or images with Blacks and the beginnings of Racism from Whites against Blacks.
CENTRAL QUESTION: What did the Blacks do against the Whites to universally deserve so much irrational ridicule, hatred, indoctrination, oppression, exploitation, murder and genocide?
What happened with the original African type Europeans after the Whites invaded Europe from Asia, 5000 years ago? Did they totally disappear? Did they die out? Did they all intermarry with Whites?
According to a map in Coon’s The Races of Europe (1961), the narrow skull type is found in the North of Europe and in the South of Europe. Africa is uniformly narrowed skulled. The middle of Europe shows a connection to Asia with the broad skulled type appearing like a invasion, pushing the narrow skulls North and South. Coon discusses religious communities in Europe were through geographical isolations a certain body; facial and skull type was preserved by intermarriage.
To this I add that documented geographical pockets of Blackness have survived in Europe like the South-West of France, The Pays de Vaud in Swiss, The Black Forest in South Germany, the area between Tournai and Cambrai and perhaps the province of Zeeland in the Netherlands too.
Blackness can also be preserved by conscious intermarriage, by a group who is not geographically isolated, but lives among other ethnicities. This can become a tradition to keep some kind of ‘racial purity’ or keep and acquire more wealth and political power. The Chinese revere their ancestors and partners of another ethnicity are viewed as a break in the chain. This practice I recognize in the European Nobility and Royal families. Through a long disciplined tradition of intermarriage they appeared much blacker in looks too, then the rest of the Europeans, because they found their colour very important. Light skinned freely marrying darker skinned to upgrade the level of Blue Blood.
I have concluded that original Black Europeans did not die out, but remained, while their ranks might have been swelled by Black and Asian immigrants who brought the Classical Knowledge and Science, which started the Renaissance. The Renaissance began at the end of the Middle Ages (500-1500) and made Europe into what it appears today. Until this new era European Blacks were named Blue Men. Several stories and myth’s exist about these Blue Men in Europe. They appear as separate communities, but also as part of more White nations as the Vikings. Somehow this Blackness survived the invasion of Whites by conscious intermarriage among European Blacks
Blue has always been a euphemism for Black. A group of medieval baptised Saracens were described as ‘Blue and Black as molten lead.’ The colour Black was connected with negative concepts as Muslims and heathens. But ‘good’ Christian Blacks had to be seen separate from ‘bad’ Blacks, enemies of Europe. So European Blacks were depicted as Whites to distinguish them from the Black non-Christian nations, which attacked Europe. Until this iconographical devise did not suit its purpose anymore, as European Blacks, who most likely considered themselves the real Europeans to begin with, wanted to be recognized in their own right as a superior, cultured and military elite.
How did Egmond Codfried came to study the European Nobility and Royalty? Why do I say that Blue blood is Black blood?
I was researching the history from my native Surinam. Most sources are kept in The Netherlands, the former colonial master, just ten minutes from my home in The National Archives. After studying the (hand) written sources I turned to look for portraits to see what these wealthy and powerful Surinam planters and governors, who enslaved some of my ancestors, looked like. But was surprised that there were very few portraits available, where there must have been thousands of portraits of these persons who are, in every sense, my ancestors too.
But then I stumbled on one portrait of Maria Jacoba van Goor (1687-1737), which became like a key to unlock the Blackness hidden behind the multitude of faked, White portraits. She looked African and was the grandmother of Baroness Isabelle de Charrière (1739-1805), known as Belle van Zuylen in the Netherlands. A famous feminist writer who is well documented because of her many private letters that survived. Her family castle is today a museum dedicated to De Charrière. She is depicted as White on the images that we get to see. Her grandmother and other members of the rich Van Goor family are not on display.
What inspired me was my anger that her biographers did not include the obviously Black grandmother in their huge, heavily illustrated books. Her money, made in slave trade and colonisation, went into an important renovation of the castle. Her granddaughter inherited from her grandmothers’ estate but struggled in her many works with an ‘ill-begotten fortune.’
De Charrière described herself as ‘She does not have the White hands; she knows it and even jokes about, but its [skin colour] not a joking matter.’(1764) She tells the world that she is not White, and somehow it’s problematic. I came to understand that her ‘noble’ colour was problematic because the despotic elite, who faced growing resentment, was coloured. She writes a poem ‘About his black brown colour’ (1764) (A son teint noir et basané) about baron Aarnout Joost Van der Duyn van Maasdam. She praises his colour and describes him as a good Christian. She compares him to the war god Mars. Mars, the lover of Aphrodite, was always depicted as Black. She says that colour does not say anything about merit. He was the highest military leader of the Southern Netherlands, from one of the oldest, Noble families. Belle returns a few times to this theme of the famous Blackness of the Van der Duyn family.
As does one of her suitors and later friend, Noble Scotsman and author James Boswell. His grandmother, Veronica van Aerssen, was a sister of Surinam governor Cornelis van Aerssen, and they were from the richest family in The Dutch republic. Two grandsons of Van Aerssen became governors as well. Baron van der Duyn van Maasdam married Anna Margaretha van Aerssen, a granddaughter of Cornelis van Aerssen. Boswell described his niece as ‘Mrs Maasdam black as chimney.’ About her husband, Baron van der Duyn, he wrote: ‘Her Husband chimney sweep.’
Yet, when I made a beeline to see the portrait of this supposedly very black looking powerful, Dutch baron I was shown a White man, with blond hair and blue eyes! This portrait is printed in important scientific works too, and is the only portrait of him that is released by the family and their descendants. His wife’s portrait is mentioned in a catalogue, but remains undocumented. In letters I have seen, there is mention of more Van der Duyn family portraits, but they remain unseen. Baron Maasdam’s sister is depicted as a blindingly white woman. But his daughter baroness Anna van der Duyn and granddaughter Sophie Wilhelmina, the Countess of Bylandt appears to be coloured. As does his grandson Adam Francois van der Duyn van Maasdam who played a important roll in establishing the Orange family as the Royal family in 1813. His cousin George Keppel however appears as a swarthy type in an engraving, showing the famous ‘noir et basané’ of this old Noble house. This portrait disappeared from Internet after I discussed it, as my research is criminally monitored by Euro trash and (unsuccessfully) sabotaged.
This is a sample of the facts, which launched my research, because the existing literature did not provide answers about how these Black described and Black portrayed people became the European Nobility. To me they are Blacks in the Diaspora who identified with Africa, with Egypt as well as the Niger River.
James Boswell is a major source of personal descriptions, which are at the basis of this research. The portraits are secondary in an important but supporting role:
He describes himself as ‘Black.’ His yet unborn illegitimate child should be named ‘The Black Prince’ because according to Boswell, ‘both its father and mother are Black.’
A biography describes him as ‘Swarthy, with black hair and black eyes.’ This same biography mentions that none of these traits are seen on the portrait he ordered in Italy during his Grand tour, but does not ask after the: ‘Why?’. So a self-described Black European Noble orders a fake, whitened blondish, rosy-cheeked portrait of himself. Why? Because in this era they took to painting their faces white with lead and arsenic laden face paint and wearing blond wigs, to hide their Blackness, which came under fire. The heavy metals made the paint also a bleaching agent, poisoning some of them too, like Napoleon.
Boswell describes his master J.J Rousseau as: ‘A genteel Black man in an Armenian coat.’
Charles II Stuart is described by Boswell as ‘The Swarthy Stuart.’ King Charles II was also known as The Black Boy.
Where have the Black portraits gone? Why do we not get to see them? What is wrong with these images for them to be kept a secret or to have them destroyed?
It should be noted that one does not always have to show black complexion to depict a coloured person. Frizzy hair can be altered to appear straight. Then even today some Blacks are depicted as Whites for commercial reasons, to sell records or cosmetic products. There have always been ideas about beauty in Europe that revolved around Greek ideals. So at some times it was fashionable to have one’s portrait painted as a White looking person. My research show that such a fellow might even have been described as ‘black brown’ in real live.
Many portraits of the elite are mentioned in catalogues or inventories but their whereabouts remain unclear. I found one mentioned where a son of an 18th century Surinam governor ordered his whole collection of family portraits to be destroyed. The reason is unclear. His mother was identified by a later family member as ‘a mulatto.’ I consider her a ‘mulatto-type’ from mulatto type forefathers, who intermarried. Not a mulatto in the classic sense, as a child of a White and a Black.
They are destroyed or kept hidden because the image shows a Black or Coloured European person. Some European masters got mixed up with their own Surinam slaves and became even blacker. The moneyed descendents of Surinam slave masters marrying into the cash hungry European Nobility. P.Kaplan’s; The Rise of The Black Magus in Western Art (1985), shows Moors (1300-1500) which are mostly images and not portraits. But he also shows some black mulatto types that strike me as real portraits of European Blacks. They are anywhere between Blacks and Whites, showing features of both groups. I have defined them as ‘an endogamous, fixed mulatto race, who identified as Blue Blood, with some members more African or Asian or White in looks.’ The identity, expressed through intermarriage, appears to me more important then looks. As long as a person was not White in looks, they could be considered Noble. People were born into the Old Nobility; it was not only a social construct, but also a biological reality.
The later post French Revolution descendents, when being Black was not considered superior anymore, took to breeding White off spring. With black colour used in the 19th century to declare peoples inferior, nobody wanted to flaunt their Black ancestors anymore. So authentic portraits were over painted with beige, or copied as Whites. Sometimes anonymous paintings were bought at auction and family arms painted on them, to pass for ‘ancestors.’
The falsification of portraits is pure Revisionism. In this case eurocentricty wants to hide a Reversed Apartheid Era when Blacks dominated White Europeans. The Black achievements are used as some war booty by the victorious White’s, who have re-written history as well, as victors are apt to do.
When did the image of the Moor first appear in art? Why? What do the Black Madonna’s mean? Was there Black superiority in Europe?
Based on P.Kaplan The Rise of The Black Magus in Western Art (1985) the first Moor was depicted in Western Art in the first half of the 13th century, namely St Maurice. A heathen European emperor named Maximilian, had the sainted Maurice killed in the year 300. Until his marked veneration in Magdenburg, South Germany, he was depicted as White. Between 1300 and 1400 images of a Black King, always a gorgeously dressed young man of the Classical African type; appeared in Adoration scenes. By 1500 this motive was adopted in the whole of Europe. It placed a Black King in the centre at the beginning of Christianity. So it was a propagandistic devise to make Black Kingship in Europe acceptable to the White majority. Just like Whites today were primed for the coming of Obama by films featuring Morgan Freeman as president or some other positive character instead of some second-class citizen or god forbids, a criminal.
Some of these Black Kings took to comparing themselves with god, were shown on the same scale as Jesus. They showed themselves to be crowned by god himself. As their colour stood for superiority, they had no use for a White god. The first Christians were ethnic Jews, and early Christianity sprang up in Africa, where Maria and Jesus were depicted as Blacks. A book, which collects images of The Black Virgin of Du Puys, France, shows to my astonishment Whites in devout adoration for a Black Madonna.
The Drake Jewel (1575) shows the profile of a Black King eclipsing that of a White woman, meaning Black superiority in Europe. As does a cameo on a Medici candelabrum does.
The French Revolution ended these practices. By beheading Louis XVI and his wife, Marie Antoinette of Habsburg in 1793, the spell of Black superiority and Black invincibility was broken. The rule of the Black Nobles was broken.
What about Scientific Racism? Why was it invented?
Everyone who is not racist and has a brain will notice how overdone and mean spirited Scientific Racism (1770) is. It’s overkill, extremely un-empirical and thus unscientific in essence. They have created the ugliest images of Blacks to proof that they resemble apes. They produce false skull measurements. They created false antiquities, displayed them in museums, to proof that the pharaohs who build the pyramids were Whites. They stripped authentic antiquities from their pigments to make them appear White. They do not recognize Black scientist. They hide facts like the Olmec heads that show that Blacks were already travelling between Africa and the Americas in 800 BC. They came up with this Caucasian nonsense about East Africans being Caucasians, thus White. They divided Africans up in South of Sahara and North of Sahara, with the SSA being inferior because of their supposed looks.
So clearly, 18th century Whites and others had to come up with a propagandistic tool to counter Black Supremacy and Free Europe from a certain despotic and cruel oppression. I have reason to believe that the Black elite considered White’s as some kind of cattle, with their skins to be used as leather to bind fine books, for fine collections. The Black elite adorned itself with pearls. Pearls seem to symbolise Whites as subjects and means to riches too. So Scientific Racism attacked the very symbol of Blue Blood, the image of a Classic African, or a ‘SSA’ type, as ‘inferior, ugly, stupid, childlike, disease ridden, ape like, primitive, mean spirited, ungrateful, dirty, prone to die out, uncivilized, unable to live under a regulated government, cannibalistic etc.’ Forcing on us today over paintings of the black portraits of the Black and Noble, Royal and intellectual European elite.Posts: 5454 | From: Holland | Registered: Aug 2008
| IP: Logged |
By the grace of the almighty I was lead to invent a theory BLUE BLOOD IS BLACK BLOOD, which answers many questions about European images of/ or images with Blacks and the beginnings of Racism from Whites against Blacks.
CENTRAL QUESTION: What did the Blacks do against the Whites to universally deserve so much irrational ridicule, hatred, indoctrination, oppression, exploitation, murder and genocide? .[/b]
lol don't forget the Arabs.
quote: The Zanj say to the Arabs: You are so ignorant that during the jahiliyya (the times of ignorance you regarded us as your equals when it came to marrying Arab women, but with the advent of the justice of Islam you decided this practice was bad. Yet the desert is full of Zanj married to Arab wives, and they have been princes and kings and have safeguarded your rights and sheltered you against your enemies. You even have sayings in your language which vaunt the deeds of our kings--deeds which you often placed above your own; this you would not have done had you not considered them superior to your own.
East African Bantu immigrants in Iraq just before the Zanj rebellion:
quote:They say; If a Zanji and a Zanji women marry and their children remain after puberty in Iraq, they come to rule the roost thanks to their numbers, endurance, knowledge, and efficiency. On the other hand, the child of an Indian and an Indian woman, or of a Greek and a Greek woman, or of a Khurasani and a Khurasani women remain among you and in your country in the same condition as their fathers and mothers. The child of two Zanji parents does not remain thus after puberty, so that we do not find, among ten thousand, one who does what we said, except when a Zanji mates with a non-Zanji woman or a Zanji women with a non-Zanji man
innocent victims?
quote: The Blacks continue: coming from Abyssinia, we were Masters of the country of Arabia up to Mecca, and on all the country our law reigned. We put to rout Du Nuwas, killed by the 'Aqyal Himyarites. You, you never dominated our country. Your poet says (Tawil): They ruined Gumdan and threw its roof down. Riyat and his troops, by an impetuous attack, with force. The Abyssinians encircled it at night and threw down A construction built by the 'Aqyal at in remote times, A multitude, of black color, coming from Al-Yaksum, such as The lions of d’as-Sara, which would have been wearing a leopard skin. [Blacks] add: we count among us Kabagila; no one of those who went up the Sulaiman channel and who fought in singular combat did resemble him. They continue: also the forty are ours who revolted, at the time of the qadi Sawwar b. 'Abd Allah, in the area of the Euphrates; they drove out their dwellings the populations of this area and went on to an immense massacre of the inhabitants of Ubulla. The one who did cut the head of Isa ibn Jafar in Oman with a Bahrayni scythe when all were afraid was one of us.
posted
Sorry I posted this somewhere else but it seems to fit:
quote:Originally posted by Egmond Codfried:
By the grace of the almighty I was lead to invent a theory BLUE BLOOD IS BLACK BLOOD, which answers many questions about European images of/ or images with Blacks and the beginnings of Racism from Whites against Blacks.
CENTRAL QUESTION: What did the Blacks do against the Whites to universally deserve so much irrational ridicule, hatred, indoctrination, oppression, exploitation, murder and genocide? .[/b]
lol don't forget the Arabs.
quote: The Zanj say to the Arabs: You are so ignorant that during the jahiliyya (the times of ignorance you regarded us as your equals when it came to marrying Arab women, but with the advent of the justice of Islam you decided this practice was bad. Yet the desert is full of Zanj married to Arab wives, and they have been princes and kings and have safeguarded your rights and sheltered you against your enemies. You even have sayings in your language which vaunt the deeds of our kings--deeds which you often placed above your own; this you would not have done had you not considered them superior to your own.
East African Bantu immigrants in Iraq just before the Zanj rebellion:
quote:They say; If a Zanji and a Zanji women marry and their children remain after puberty in Iraq, they come to rule the roost thanks to their numbers, endurance, knowledge, and efficiency. On the other hand, the child of an Indian and an Indian woman, or of a Greek and a Greek woman, or of a Khurasani and a Khurasani women remain among you and in your country in the same condition as their fathers and mothers. The child of two Zanji parents does not remain thus after puberty, so that we do not find, among ten thousand, one who does what we said, except when a Zanji mates with a non-Zanji woman or a Zanji women with a non-Zanji man
innocent victims?
quote: The Blacks continue: coming from Abyssinia, we were Masters of the country of Arabia up to Mecca, and on all the country our law reigned. We put to rout Du Nuwas, killed by the 'Aqyal Himyarites. You, you never dominated our country. Your poet says (Tawil): They ruined Gumdan and threw its roof down. Riyat and his troops, by an impetuous attack, with force. The Abyssinians encircled it at night and threw down A construction built by the 'Aqyal at in remote times, A multitude, of black color, coming from Al-Yaksum, such as The lions of d’as-Sara, which would have been wearing a leopard skin. [Blacks] add: we count among us Kabagila; no one of those who went up the Sulaiman channel and who fought in singular combat did resemble him. They continue: also the forty are ours who revolted, at the time of the qadi Sawwar b. 'Abd Allah, in the area of the Euphrates; they drove out their dwellings the populations of this area and went on to an immense massacre of the inhabitants of Ubulla. The one who did cut the head of Isa ibn Jafar in Oman with a Bahrayni scythe when all were afraid was one of us.
posted
Sorry I posted this somewhere else but it seems to fit:
quote:Originally posted by Egmond Codfried:
By the grace of the almighty I was lead to invent a theory BLUE BLOOD IS BLACK BLOOD, which answers many questions about European images of/ or images with Blacks and the beginnings of Racism from Whites against Blacks.
CENTRAL QUESTION: What did the Blacks do against the Whites to universally deserve so much irrational ridicule, hatred, indoctrination, oppression, exploitation, murder and genocide? .[/b]
lol don't forget the Arabs.
quote: The Zanj say to the Arabs: You are so ignorant that during the jahiliyya (the times of ignorance you regarded us as your equals when it came to marrying Arab women, but with the advent of the justice of Islam you decided this practice was bad. Yet the desert is full of Zanj married to Arab wives, and they have been princes and kings and have safeguarded your rights and sheltered you against your enemies. You even have sayings in your language which vaunt the deeds of our kings--deeds which you often placed above your own; this you would not have done had you not considered them superior to your own.
East African Bantu immigrants in Iraq just before the Zanj rebellion:
quote:They say; If a Zanji and a Zanji women marry and their children remain after puberty in Iraq, they come to rule the roost thanks to their numbers, endurance, knowledge, and efficiency. On the other hand, the child of an Indian and an Indian woman, or of a Greek and a Greek woman, or of a Khurasani and a Khurasani women remain among you and in your country in the same condition as their fathers and mothers. The child of two Zanji parents does not remain thus after puberty, so that we do not find, among ten thousand, one who does what we said, except when a Zanji mates with a non-Zanji woman or a Zanji women with a non-Zanji man
innocent victims?
quote: The Blacks continue: coming from Abyssinia, we were Masters of the country of Arabia up to Mecca, and on all the country our law reigned. We put to rout Du Nuwas, killed by the 'Aqyal Himyarites. You, you never dominated our country. Your poet says (Tawil): They ruined Gumdan and threw its roof down. Riyat and his troops, by an impetuous attack, with force. The Abyssinians encircled it at night and threw down A construction built by the 'Aqyal at in remote times, A multitude, of black color, coming from Al-Yaksum, such as The lions of d’as-Sara, which would have been wearing a leopard skin. [Blacks] add: we count among us Kabagila; no one of those who went up the Sulaiman channel and who fought in singular combat did resemble him. They continue: also the forty are ours who revolted, at the time of the qadi Sawwar b. 'Abd Allah, in the area of the Euphrates; they drove out their dwellings the populations of this area and went on to an immense massacre of the inhabitants of Ubulla. The one who did cut the head of Isa ibn Jafar in Oman with a Bahrayni scythe when all were afraid was one of us.
quote:Originally posted by Egmond Codfried: White Supremacy is Based on Falsified Portraits of the European Black Elite (1500-1789)
By the grace of the almighty I was lead to invent a theory BLUE BLOOD IS BLACK BLOOD, which answers many questions about European images of/ or images with Blacks and the beginnings of Racism from Whites against Blacks.
CENTRAL QUESTION: What did the Blacks do against the Whites to universally deserve so much irrational ridicule, hatred, indoctrination, oppression, exploitation, murder and genocide? [/b]
How about the Arabs?
quote: The Zanj say to the Arabs: You are so ignorant that during the jahiliyya (the times of ignorance ) you regarded us as your equals when it came to marrying Arab women, but with the advent of the justice of Islam you decided this practice was bad. Yet the desert is full of Zanj married to Arab wives, and they have been princes and kings and have safeguarded your rights and sheltered you against your enemies. You even have sayings in your language which vaunt the deeds of our kings--deeds which you often placed above your own; this you would not have done had you not considered them superior to your own.
quote: The Blacks continue: coming from Abyssinia, we were Masters of the country of Arabia up to Mecca, and on all the country our law reigned. We put to rout Du Nuwas, killed by the 'Aqyal Himyarites. You, you never dominated our country. Your poet says (Tawil): They ruined Gumdan and threw its roof down. Riyat and his troops, by an impetuous attack, with force. The Abyssinians encircled it at night and threw down A construction built by the 'Aqyal at in remote times, A multitude, of black color, coming from Al-Yaksum, such as The lions of d’as-Sara, which would have been wearing a leopard skin. [Blacks] add: we count among us Kabagila; no one of those who went up the Sulaiman channel and who fought in singular combat did resemble him. They continue: also the forty are ours who revolted, at the time of the qadi Sawwar b. 'Abd Allah, in the area of the Euphrates; they drove out their dwellings the populations of this area and went on to an immense massacre of the inhabitants of Ubulla. The one who did cut the head of Isa ibn Jafar in Oman with a Bahrayni scythe when all were afraid was one of us.
posted
Sorry I posted this somewhere else but it seems to fit:
quote:Originally posted by Egmond Codfried:
By the grace of the almighty I was lead to invent a theory BLUE BLOOD IS BLACK BLOOD, which answers many questions about European images of/ or images with Blacks and the beginnings of Racism from Whites against Blacks.
CENTRAL QUESTION: What did the Blacks do against the Whites to universally deserve so much irrational ridicule, hatred, indoctrination, oppression, exploitation, murder and genocide? .[/b]
lol don't forget the Arabs.
quote: The Zanj say to the Arabs: You are so ignorant that during the jahiliyya (the times of ignorance you regarded us as your equals when it came to marrying Arab women, but with the advent of the justice of Islam you decided this practice was bad. Yet the desert is full of Zanj married to Arab wives, and they have been princes and kings and have safeguarded your rights and sheltered you against your enemies. You even have sayings in your language which vaunt the deeds of our kings--deeds which you often placed above your own; this you would not have done had you not considered them superior to your own.
East African Bantu immigrants in Iraq just before the Zanj rebellion:
quote:They say; If a Zanji and a Zanji women marry and their children remain after puberty in Iraq, they come to rule the roost thanks to their numbers, endurance, knowledge, and efficiency. On the other hand, the child of an Indian and an Indian woman, or of a Greek and a Greek woman, or of a Khurasani and a Khurasani women remain among you and in your country in the same condition as their fathers and mothers. The child of two Zanji parents does not remain thus after puberty, so that we do not find, among ten thousand, one who does what we said, except when a Zanji mates with a non-Zanji woman or a Zanji women with a non-Zanji man
innocent victims?
quote: The Blacks continue: coming from Abyssinia, we were Masters of the country of Arabia up to Mecca, and on all the country our law reigned. We put to rout Du Nuwas, killed by the 'Aqyal Himyarites. You, you never dominated our country. Your poet says (Tawil): They ruined Gumdan and threw its roof down. Riyat and his troops, by an impetuous attack, with force. The Abyssinians encircled it at night and threw down A construction built by the 'Aqyal at in remote times, A multitude, of black color, coming from Al-Yaksum, such as The lions of d’as-Sara, which would have been wearing a leopard skin. [Blacks] add: we count among us Kabagila; no one of those who went up the Sulaiman channel and who fought in singular combat did resemble him. They continue: also the forty are ours who revolted, at the time of the qadi Sawwar b. 'Abd Allah, in the area of the Euphrates; they drove out their dwellings the populations of this area and went on to an immense massacre of the inhabitants of Ubulla. The one who did cut the head of Isa ibn Jafar in Oman with a Bahrayni scythe when all were afraid was one of us.
quote:Originally posted by Egmond Codfried: White Supremacy is Based on Falsified Portraits of the European Black Elite (1500-1789)
By the grace of the almighty I was lead to invent a theory BLUE BLOOD IS BLACK BLOOD, which answers many questions about European images of/ or images with Blacks and the beginnings of Racism from Whites against Blacks.
CENTRAL QUESTION: What did the Blacks do against the Whites to universally deserve so much irrational ridicule, hatred, indoctrination, oppression, exploitation, murder and genocide? [/b]
How about the Arabs?
quote: The Zanj say to the Arabs: You are so ignorant that during the jahiliyya (the times of ignorance ) you regarded us as your equals when it came to marrying Arab women, but with the advent of the justice of Islam you decided this practice was bad. Yet the desert is full of Zanj married to Arab wives, and they have been princes and kings and have safeguarded your rights and sheltered you against your enemies. You even have sayings in your language which vaunt the deeds of our kings--deeds which you often placed above your own; this you would not have done had you not considered them superior to your own.
quote: The Blacks continue: coming from Abyssinia, we were Masters of the country of Arabia up to Mecca, and on all the country our law reigned. We put to rout Du Nuwas, killed by the 'Aqyal Himyarites. You, you never dominated our country. Your poet says (Tawil): They ruined Gumdan and threw its roof down. Riyat and his troops, by an impetuous attack, with force. The Abyssinians encircled it at night and threw down A construction built by the 'Aqyal at in remote times, A multitude, of black color, coming from Al-Yaksum, such as The lions of d’as-Sara, which would have been wearing a leopard skin. [Blacks] add: we count among us Kabagila; no one of those who went up the Sulaiman channel and who fought in singular combat did resemble him. They continue: also the forty are ours who revolted, at the time of the qadi Sawwar b. 'Abd Allah, in the area of the Euphrates; they drove out their dwellings the populations of this area and went on to an immense massacre of the inhabitants of Ubulla. The one who did cut the head of Isa ibn Jafar in Oman with a Bahrayni scythe when all were afraid was one of us.
posted
Searching for Shakespeare By Lloyd Sullivan
January 13, 2006
The Searching for Shakespeare exhibition tour will open at the National Portrait Gallery in London, England on March 2nd, 2006 and continue to May 29th, 2006. The exhibition will then travel to the Yale Center for British Art at New Haven, Connecticut and continue from June 24th, 2006 to September 17th, 2006. The tour includes the following portraits:
The Flower Portrait
The Flower Portrait came to public notice in 1892 when the portrait was lent to the Royal Shakespeare Company (RSC). When the man who lent it died, Sir Desmond Flower purchased it and donated it to the RSC.
At the time of the Flower Portrait’s donation to the RSC, it was widely assumed to be a genuine image of William Shakespeare painted in his lifetime and it bore the inscription of 1609. The portrait was painted on an elm panel by an unknown artist.
However, with a hazy legacy, doubts grew up about its authenticity and, more recently, painstaking scientific analysis of the portrait has revealed crucial clues about the image. The analysis was conducted by the National Portrait Gallery over a period of four months using a combination of x-rays, ultraviolet examination, paint sampling, and microphotography. The x-rays revealed that the portrait was painted on top of another painting, a 16th century Madonna and Child.
In addition, chrome yellow paint dating from around 1814 was found embedded in the portrait. Technical analysis rules out the possibility that this was simply a later re-touch of the original portrait, as the layers of paint are well integrated.
Based on the foregoing, experts at the National Portrait Gallery in London, England, have now confirmed the Flower Portrait to be a 19th century fake and not a portrait of Shakespeare painted during his lifetime, as previously thought.
Sources:
“The Culture Show.” BBC TWO broadcast 7:00 p.m., April 21, 2005.
“Shakespeare portrait found to be fake.” BBC - Press Office. Press Release, April 22, 2005. <http://www.bbc.co.uk/>
London’s National Portrait Gallery recently revealed that an iconic portrait used on the cover of numerous books about Shakespeare, is not an image of the playwright at all.
The painting was previously believed to have portrayed the Bard at the age of 24, and its beauty, sensitivity and passion helped to inspire the image of him represented in the film Shakespeare in Love.
However, after a nine-month investigation, the National Portrait Gallery recently stated that there was no evidence that the Grafton Portrait was a portrait of William Shakespeare.
At the age of 24, Shakespeare, having at that age recently become a father of twins and having possibly joined a traveling theatre troupe, would have been unable to afford the sumptuous silk and satin jacket worn by the sitter in the portrait.
Research and restoration has confirmed that the portrait depicts a contemporary of Shakespeare. Painted in oil by an anonymous hand in 1588 when Shakespeare was 24, an inscription on the painting records the age of the sitter as 24. It has been discovered that the age originally inscribed on the portrait was 23, but was later changed to 24 by an unknown hand to agree with Shakespeare’s age in 1588.
The portrait, now owned by the John Rylands Library Museum, at the University of Manchester, England, shows a young man with curly brown hair and grey eyes. It is of interest to note that the John Rylands Library does not uphold the identification of this painting as of Shakespeare.
Sources:
“Iconic image of the Bard probably not him at all: British gallery can’t prove it’s Shakespeare.” The Ottawa Citizen April 26, 2005 (Citizen article from: The Times, London)
”Shakespeare portrait is a fake.” News Telegraph October 28, 2005. <http://www.telegraph.co.uk>
The Chandos Portrait
The Chandos portrait, so-called because it was once owned by James Brydges, 1st Duke of Chandos, is typical of early 17th century portraiture. It is dated 1610 and is attributed to John Taylor, an actor with the King’s Men. Its claim for authenticity rests on the suggestion that it was owned by William Davenant, playwright and theatre manager (1606-1668), who claimed to be Shakespeare’s illegitimate son. However, Shakespearean scholars have rejected this claim as being unfounded as there are no historical documents to substantiate the case.
The Chandos portrait was the founding painting in the National Portrait Gallery, a gift of the Earl of Ellesmere in 1856. Some believe that Shakespeare’s friend and fellow actor, Richard Burbage had actually painted the portrait and gave it to John Taylor. Taylor then left it to William Davenant. However, this theory can not be supported with historical evidence. Many critics argue that the portrait is not of Shakespeare as the sitter does not look like an English gentleman but rather like an Italian or a Spaniard.
Most Shakespearean experts contend that the painter of the Chandos is not known and was most likely painted some years after Shakespeare’s death.
In 2004, the National Portrait Gallery announced plans to have scientific tests carried out on the Chandos similar to the tests done on the Flower and Grafton portraits. The Gallery entered into an agreement with the BBC TWO’s “The Culture Show” to produce a three-part series to reveal the results of the announced scientific investigations. All three parts of the TV series were to be shown on the BBC television network before Christmas 2005.
To date, only the results of the tests carried out on the Flower and Grafton portraits (reported in the forgoing) have been shown on the BBC (in late 2005). There is some speculation that the results of the scientific tests done on the Chandos portrait will not be revealed until sometime after the Searching for Shakespeare exhibition.
Sources:
“What did Shakespeare Look Like?” Shakespeare Birthplace Trust <http://www.shakespeare.org.uk/>
“Chandos portrait.” Wikipedia <http://www.en.wikipedia.org/wiki/Chandos_portrait>
The Sanders Portrait
There have been 15 scientific tests conducted on the Sanders portrait by the Canadian Conservation Institute (CCI). The results were all positive including the carbon dating of the paper label on the back of the portrait and the dendrochronological (tree-ring dating) tests done on the portrait’s two wooden panels.
The carbon dating tests requested by the CCI were carried out by Dr. R. P. Beukens of the IsoTrace Radiocarbon Laboratory (Accelerator Mass Spectrometry Facility) at the University of Toronto. The dendrochronology tests were conducted by the world’s leading dendrochronologist, Dr. Peter Klein of the University of Hamburg, Germany.
The National Portrait Gallery has accepted the results of these scientific tests and no retesting is required.
In addition to the success of the scientific tests carried out on the Sanders portrait, recent genealogical evidence, together with a number of documents and letters that have been discovered over the past twenty years, go a long way to authenticate the portrait as being a true image of Shakespeare painted in his lifetime (1603).
Sources
“Scientific Examination of the Sanders Portrait of William Shakespeare.” Canadian Conservation Institute August 15, 2000. ARL Report 3853.
Klein, Peter, Report on the dendrochronological analysis of the panel “William Shakespeare” (English). University of Hamburg, July 1, 1994.
Beukens, Roelf P. Radiocarbon Analysis Report. August 1, 2000
The National Portrait Gallery has stated that there will be no scientific tests conducted on the Jansen and Soest Portraits, because they were painted after Shakespeare’s death, and are not considered to be lifetime images of the Bard.
The Jansen Portrait
Cornelius Jansen (1593-1664) was a Flemish painter who came to London, England in 1618 (at the age of 25), two years after William Shakespeare’s death. He worked in England from 1618 to 1643 and afterwards retired to Amsterdam, Holland. While he was in England, he was patronized by King James I and, under King Charles I, he continued to paint the numerous portraits that adorn many English mansions and collections of that era.
His arrival in London in 1618 extended the taste and increased the opportunity for the possession of po
rtraits among those people who were of class to which Ben Jonson belonged. A likeness of Shakespeare painted by Jansen appeared about this period. It is speculated that Jansen saw and copied a cast of Shakespeare to produce his portrait.
The Soest Portrait
The Soest or Zoust portrait was owned by Thomas Wright of Covent Garden in 1725 when it was engraved by John Simon. The painting was created by Soest some 21 years after Shakespeare’s death and is primarily based on his imagination as an artist.
Sources:
“Pictures of William Shakespeare.” <www.just-shakespeare.com/portraits.htm>
By the grace of the almighty I was lead to invent a theory BLUE BLOOD IS BLACK BLOOD, which answers many questions about European images of/ or images with Blacks and the beginnings of Racism from Whites against Blacks.
CENTRAL QUESTION: What did the Blacks do against the Whites to universally deserve so much irrational ridicule, hatred, indoctrination, oppression, exploitation, murder and genocide? .[/b]
lol don't forget the Arabs.
quote: The Zanj say to the Arabs: You are so ignorant that during the jahiliyya (the times of ignorance you regarded us as your equals when it came to marrying Arab women, but with the advent of the justice of Islam you decided this practice was bad. Yet the desert is full of Zanj married to Arab wives, and they have been princes and kings and have safeguarded your rights and sheltered you against your enemies. You even have sayings in your language which vaunt the deeds of our kings--deeds which you often placed above your own; this you would not have done had you not considered them superior to your own.
East African Bantu immigrants in Iraq just before the Zanj rebellion:
quote:They say; If a Zanji and a Zanji women marry and their children remain after puberty in Iraq, they come to rule the roost thanks to their numbers, endurance, knowledge, and efficiency. On the other hand, the child of an Indian and an Indian woman, or of a Greek and a Greek woman, or of a Khurasani and a Khurasani women remain among you and in your country in the same condition as their fathers and mothers. The child of two Zanji parents does not remain thus after puberty, so that we do not find, among ten thousand, one who does what we said, except when a Zanji mates with a non-Zanji woman or a Zanji women with a non-Zanji man
innocent victims?
quote: The Blacks continue: coming from Abyssinia, we were Masters of the country of Arabia up to Mecca, and on all the country our law reigned. We put to rout Du Nuwas, killed by the 'Aqyal Himyarites. You, you never dominated our country. Your poet says (Tawil): They ruined Gumdan and threw its roof down. Riyat and his troops, by an impetuous attack, with force. The Abyssinians encircled it at night and threw down A construction built by the 'Aqyal at in remote times, A multitude, of black color, coming from Al-Yaksum, such as The lions of d’as-Sara, which would have been wearing a leopard skin. [Blacks] add: we count among us Kabagila; no one of those who went up the Sulaiman channel and who fought in singular combat did resemble him. They continue: also the forty are ours who revolted, at the time of the qadi Sawwar b. 'Abd Allah, in the area of the Euphrates; they drove out their dwellings the populations of this area and went on to an immense massacre of the inhabitants of Ubulla. The one who did cut the head of Isa ibn Jafar in Oman with a Bahrayni scythe when all were afraid was one of us.
I want to get away from myth's and find tangible causes for tangible racism, today. Other conflicts are too long ago to have had an impact today. But my theory of Reversed Apartheid (1500-1789), by a Black and Coloured European elite, speaks of a recent conflict and the resulting revisionism by the victors. The question is; do Blacks today, all over the world, still need to be punished and curtailed because of what happened then?
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What do we make off Sir William Davenant's looks? He is the alleged natural son of William Shakespeare. Both he and painter De Lairesse look like snubnosed, broad faced Meles Senawi!
[Gerard de Lairesse by Rembrandt]
[Meles Senawi]
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quote:Originally posted by TheAmericanPatriot: someone start the twilight zone music here, the inmates at the black mental institution are back in the computer lab.
[Robert Deveraux, 3th Earl of Essex, greatgreat grandson of Mary Boleyn, Anna Boleyn's sister. Anna Boleyn was the mother of Elizabeth I]
I feel so liberated that I freed my mind and can look at a portrait and say: yes, this looks like a black skinned man. And because these nobles all used the symbol of the Moor, they might as well be off a fixed mulatto race, the original Europeans. No more eurocentrics who come and dispute that ethnicity can be seen in some portraits or who say that there were no Blacks in Europe, sitting on thrones.
Francois de la Noué, French Nobleman
Catherine de Medici, Queen of France
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Maesen de Sombreff, Louis van der (kantonrechter) Kantonrechter, 12 september 1854 -23 februari 1926
(Both photo's of this nobleman I have seen show a dark skinned man with thick, contoured lips and prognastia.)
Deze telg uit een vooraanstaande katholieke Maastrichtse fa¬milie werd op 12 september 1854 in Maas¬tricht geboren. Hij was de zoon van jhr. mr. L.E. van der Maesen de Sombreff, rechter aan de arrondissementsrechtbank te Maastricht, en van F.W.H.C. barones de Bieberstein Rogalla Zawadsky. Louis volgde lager onderwijs aan het College Saint Servais te Luik en studeerde vervolgens aan het Stedelijk Gymnasium in Maas¬tricht. In 1873 ging hij rechten studeren in Leiden. In 1879 pro¬mo¬veerde hij aldaar tot doctor in de rechtswetenschap op het onderwerp "Over den aanvang van het lidmaatschap der Sta¬ten-Generaal". Na enige tijd als amb¬tenaar van het Openbaar Ministerie te hebben gewerkt in Schie¬dam en Den Bosch, werd hij in 1886 be¬noemd tot kantonrechter te Heer¬len. Inmiddels was hij in 1884 ge¬trouwd met de Hulsbergse Pauline Eugénie Dumonceau. Zij woonden in het landhuis de Leeuwen¬horst in Hulsberg en uit hun huwelijk wer¬den drie zoons geboren. Vandaar reed hij dagelijks te paard of met de sjees naar zijn werk in Heerlen.
Louis van der Maesen werd een bij velen geliefd rechter. Hij sprak de justitiabelen toe in het dialect en trachtte de soms harde gevolgen van het strafrecht voor de vaak arme bevolking zo veel mogelijk te verzachten. Een lichte geldstraf en een ver¬ma¬¬nende waarschuwing werden de kenmerken van zijn mild, maar vaak bevoogdend optreden. Waar mogelijk, trachtte hij geschillen in der minne te schikken en partijen tot elkaar te bren¬gen. In 1923 bijvoorbeeld diende een hooglopende zaak tus¬sen twee dorpelingen over een door een bijtende hond "versjangeleerde brook". De kantonrechter haalde de veld¬wach¬ter erbij als taxateur en kreeg voor elkaar dat de gedag¬vaarde de schade aan de "ver¬sjange¬leerde brook" terstond aan de balie vergoedde en dat de dorpelingen samen lachend het kantongerecht verlieten. Dit alles le¬verde hem de bijnaam "sju de pèke" (juge de paix, vrederechter) op. De vrederechter is een functie uit de Franse tijd en de eerste de¬cennia van de 19e eeuw, de voorloper van de kantonrechter. In de tijd van de opkomende mijn¬in¬dustrie gebruikten de bewoners van de mijnstreek de verouderde aanduiding blijkbaar als koosnaam¬pje voor "hun" kantonrechter.
Ook op vele andere terreinen zette jhr. mr. Louis H.L.J. van der Maesen de Sombreff zich in voor de (Zuid)-Limburgse samenleving, vooral in politieke functies. In 1904 werd hij lid van de Provin¬ciale Staten van Limburg. Daar ging overigens geen verkiezing aan vooraf, maar als enige kandidaat volgde hij een overleden lid op. Door de benoeming van L.H.W. Regout tot minister van Waterstaat kwam er in 1909 een vacatu¬re vrij in de Eerste Ka¬mer. De Provinciale Staten kozen Louis van der Maesen tot Re¬gouts opvolger. De kantonrechter bleef tot zijn overlijden in 1926 lid van de Senaat. Maar ook in zijn ge¬boor¬te¬streek bleef de jonkheer zich inzetten voor de katholieke poli¬tie¬ke zaak. Was er een Katholiekendag of een vergadering van de Lim¬burg¬se Kiezersbond, hij was altijd aanwezig. Zo raakte hij be¬trok¬ken bij de omstreden verkiezing van Charles Ruys de Bee¬ren¬brouck tot Tweede-Kamerlid. Ruys de Beerenbrouck kon tijdens de verkiezingsstrijd rekenen op de steun van het ka¬tho¬lieke establishment. De verkiezing van Ruys de Beeren¬brouck werd echter op formele gronden ongeldig verklaard. Maar een juridisch onderzoek bleef uit, zodat een en ander geen gevolgen had voor de kantonrechter. De grote invloed van Van der Maesen in Zuid-Limburg blijkt ook uit de vele andere functies die hij vervulde. Zo was hij onder andere van 1894 tot 1921 schoolopziener in de arron¬dissemen¬ten Heerlen en Sittard en van 1902-1926 voorzitter van de Gezondheidscommissie te Gulpen. Ook was hij tiental¬len jaren lid van het hoofdbestuur van het Limburgs Geschied- en Oud¬heidkundig Genootschap (L.G.O.G.). Vanaf de oprich¬ting van het Limburgsch Dagblad was hij commissaris van deze krant. De bij vele Limburgers geliefde "oude heer Van der Mae¬sen" overleed vrij plotseling op 23 februari 1926.
Literatuur: • Persdocumentatie; persoonsdossier Louis van der Maessen de Sombreff • R. Braad, M. van Dijk, Bekende Mijnstrekenaar: Jonkheer Mr. Louis H.J.L. van der Maesen de Sombreff, jurist en sju de pèke, in: LvH 47(1997), 33-34 • H. Dorren, Limburg Biografisch Repertorium, in: Studies over de Sociaal-Economische Geschiedenis van Limburg 33(1988), 179-180
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quote: While finding an appropriate pose for Haydn may not have been difficult, he presented portraitists with something of a challenge in another area: his physiognomy was, much to his own chagrin, rather less than noble. His facial features were described by one of his earliest biographers, Dies, as ‘rather regular’ and possessing a ‘hawk-like nose’ and his face and even nose having scars from the pox. He was, by his own admission, ugly, but, as Dies continues to recount, not ‘in his form but only in his pock-marked skin and the brownish complexion.’ His complexion was in fact so swarthy that he was once dubbed a ‘Blackamoor’ by his prince at Esterháry. (For a fascinating account of Haydn’s concern for his public image at the time, see Thomas Tolley’s Painting the Cannon’s Roar, chapter 5.) The issue of Haydn’s appearance is important as it relates to the challenges and choices that portraitists had to make when painting their subject, especially the degree to which they were compelled to flatter whist still retaining a sense of likeness.
quote: At the age of twenty-eight Haydn composed his first symphony. Soon after this he attracted the attention of the old Prince Esterhazy, all the members of whose family have become known in the history of music as generous Mæcenases of the art. "What! you don't mean to say that little blackamoor" (alluding to Haydn's brown complexion and small stature) "composed that symphony?" "Surely, prince," replied the director Friedburg, beckoning to Joseph Haydn, who advanced toward the orchestra. "Little Moor," says the old gentleman, "you shall enter my service. I am Prince Esterhazy. What's your name?" "Haydn."
Egmond. Nice piece of detective work on Haydn. When I was in Hungary, that Haydn was Kepellmeister (Chapel Master) at the court of Prince Eszterhazy, during the great Austro-Hungarian Empire, was a matter of national pride. It is not known (or academics don't discuss) the fact that he was a black-a-moor.
I did a bit of research to find the source of your quote and (credit to you) put the following page together (my notes in blue, purple, yellow):
Going back 700 years in time to an Austro-Hungarian empire (parts of France were then a part) we find a different world than the world today. Prince Esterhazy comments on the Haydn he saw being black (or brown) and short; shorter than the whites.
Well. Is there any evidence we can see today that shows that there were black-a-moors in the Austro-Hungarian empire who were, furthermore, short? Shorter than white? Yes. Compare the heights between the black-a-moors and the attacking whites who towered over them.
The page below from the 13th century. It shows that in the 13th century, there were black-a-moors in the Austro-Hungarian empire who were royalty (like Haydn) and short and black and brown:
Egmond. Nice piece of detective work on Haydn. When I was in Hungary, that Haydn was Kepellmeister (Chapel Master) at the court of Prince Eszterhazy, during the great Austro-Hungarian Empire, was a matter of national pride. It is not known (or academics don't discuss) the fact that he was a black-a-moor.
I did a bit of research to find the source of your quote and (credit to you) put the following page together (my notes in blue, purple, yellow):
The ideas about 'African caucasians' not being 'True negroes' were launched in the 18 and 19 centuries to hide the European black elite, a fixed mulatto race with some looking more African, Asian or white. They looked coloured and no one would say they are whites.
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[Egmond writes] Thank you. He was an European allright, perhaps a descendent of the original Europeans who were Africans?
Why does this research not resonate with the other brothers?
[Marc writes] I can't count the times I accepted new, progressive ideas from forums and discussion groups but never noted it through reply. I think the fact that you introduced evidence showing Haydn was (by phenotype) African does resonate with other brothers but they just don't announce it.
If they got involved in a discussion where Haydn was the subject, some among them I believe would mention the evidence you shared.
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-------------------- The nature of homelife is the fate of the nation. Posts: 2334 | Registered: May 2006
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