"The sobriquet of Il Moro had apparently been bestowed upon Ludovico early in life by his father, and referred to his noticeably swarthy complexion. In keeping with the nature of allegory, the face of the moor does not actually bear the features of Ludovico but instead represents a kind of alter ego. It is both a pun on his nickname and an indelible symbol communicating more of a sense of ideal power, arguably, than his actual features would have conveyed.
The animated image of Il Moro seen here is the inspired, unique projection of a simple heraldic device already in long use by elite families and civic authorities in medieval and Renaissance Europe. Displayed on innumerable flags and coats of arms, this was the silhouetted head of a moor, understood to be a black man, wearing a white headband. The rationale for its use varied from a pun on a family name (such as Morese equals moor) to an evocation of universal authority. Here, this durable image has been given three-dimensional form, coming to life as the living embodiment of an actual head of state.
This scene appears at the bottom of the frontispiece of the Sforziad, a laudatory history commemorating Francesco's life. It is dated 1496, a year after the Holy Roman Emperor officially conferred the ducal title upon Ludovico. The symbolic event takes place in an idyllic, verdant setting, apparently an island. The adult participants are depicted as putti -- that is, small children derived from the ancient Greco-Roman figure of the cupid.
Elizabeth McGrath and other scholars have identified the principal dramatis personae of the scene. Ludovico is seen here as the literal embodiment of his nickname, Il Moro (The Moor). The duke sits on a monumental base, addressing a gathering of several of his courtiers with wise words of instruction. His character as Il Moro is extended to the figure of his daughter Bianca -- the young, blond-haired black woman to his right -- who draws near, arm in arm with her husband, Galeazzo da Sanseverino. Another level of paradox is added by her name, which means "white" in Italian.
This copy of the Sforziad was made for presentation to the couple to commemorate their marriage. The dialogic character of the two inscriptions stresses loyalty within the family and the firm control of the reigning duke over the future of his dynasty.
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the title of this thread has that same child like quality
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Sforza was a ruling family of Renaissance Italy, based in Milan. They acquired the dukedom and Duchy of Milan from the previously ruling Visconti family in the mid-15th century, and lost it to the Spanish Habsburgs about a century later.
THIS IS THE IMAGE OF YEAR. BLACK EUROPEAN KING AND WHITE SERVANTS Posts: 2922 | From: World Empire of the Black People | Registered: Jul 2011
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The animated image of Il Moro seen here is the inspired, unique projection of a simple heraldic device already in long use by elite families and civic authorities in medieval and Renaissance Europe.
Displayed on innumerable flags and coats of arms, this was the silhouetted head of a moor, understood to be a black man, wearing a white headband.
The rationale for its use varied from a pun on a family name (such as Morese equals moor) to an evocation of universal authority.
Here, this durable image has been given three-dimensional form, coming to life as the living embodiment of an actual head of state.
Lioness Eurocentric Scientists always talk sh*t. they always lie. This is the picture of how it was loduvico.
quote:Originally posted by malibudusul: The animated image of Il Moro seen here is the inspired, unique projection of a simple heraldic device already in long use by elite families and civic authorities in medieval and Renaissance Europe.
Displayed on innumerable flags and coats of arms, this was the silhouetted head of a moor, understood to be a black man, wearing a white headband.
The rationale for its use varied from a pun on a family name (such as Morese equals moor) to an evocation of universal authority.
Here, this durable image has been given three-dimensional form, coming to life as the living embodiment of an actual head of state.
Lioness Eurocentric Scientists always talk sh*t. they always lie. This is the picture of how it was loduvico.
posted
The Tarot The science of will. The principle of all wisdom and source of all power are contained in the 22 arcana or symbolic hieroglyph. Each attribute conceal a meaning and wich taken as a whole compose an absolute doctrine by its correspondence to the hieroglyph and the number connected to the letter.
According to MTsar the name tarot come from the Egyptian God Taurt, Tarut, Taweret. The Jewish word Torah come from the Tarot. tarot come from the wisdom of Kemet said to have been laid down by God Thot for his disciple in magic. 22 letters of the Hebrew alphabet( language and writing of the Egyptian priest) correspond to the 22 major arcana. The 4 suits of the minor arcana are the 4 Kabalistic world. In Egypt hieroglyph monument you can find the major arcana plates.
when Jew/Hebrew/Afrim were subjected to dispersion and the unity of the people became difficult. The Jewish elders realize their body of real knowledge was in danger of being lost. The dilution and dispersal prevented continued transmission. Yet writhing that dangerous system was unthinkable. The Jewish elder very reluctantly decided to put their knowledge in writing, in a coded way that it would be unintelligible to the regular people. It was done in 3 degrees 1)Sepher Yetzirah 2)Sepher Ha Zohar 3) The clavicle (key) of Solomon aka Tarot card 22 major arcana. French Cabalist Enel states the clavicle of Solomon are in the Trump of the Tarot pack. Count Gebelin has found in the 22 major arcana the symbolism of the Egyptian mysteries. He attributes their composition to Hermes Trismegistus. From the book The People of The Secret by Ernest Scott.
The crusaders brought the Tarot to Europe they were aacquired from a mystical sect of the middle east.The Gypsies propagate the tarot card, they were persecuted by Adolph Hitler.
The Priest of Alexandria saved what they could before the great esoteric library of Alexandria was burned by the Roman Church. They became wanderers (gypsy) isolated with their own language. They symbolized their knowledge in the Tarot.
When the Gypsies first appear in the record in the time of Henry VIII they are described as outlandish people calling themselves Egyptian. Tarot come from Egyptian word Tar (road) and Ro(royal) meaning royal road to wisdom.
The painting by Giovani Da Birago probably show the real black color of the black nobility Duke of Milan Ludovico Sforza.
Posts: 5374 | From: sepedat/sirius | Registered: Jul 2012
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Hans Burgkmair the Elder German (1473 - 1531) Ludovico Sforza, Duke of Milan, Taken Captive Series/Book Title: Weisskunig Print German, 16th century Creation Place: Germany Woodcut H. 508
According to MTsar the name tarot come from the Egyptian God Taurt, Tarut, Taweret. The Jewish word Torah come from the Tarot.
No it doesn't
etymology
tarot (n.)
1590s, from French tarot (16c.), from Old Italian tarocchi (plural), of unknown origin, perhaps from Arabic taraha "reject." The deck first used in Italy 14c., as playing cards as well as for fortune-telling. The tarots, strictly speaking, are the 22 figured cards added to the 56-card suits pack.
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Torah (n.)
"the Pentateuch," 1570s, from Hebrew torah, literally "instruction, law," verbal noun from horah "he taught, showed."
quote:Originally posted by malibudusul: The animated image of Il Moro seen here is the inspired, unique projection of a simple heraldic device already in long use by elite families and civic authorities in medieval and Renaissance Europe.
Displayed on innumerable flags and coats of arms, this was the silhouetted head of a moor, understood to be a black man, wearing a white headband.
The rationale for its use varied from a pun on a family name (such as Morese equals moor) to an evocation of universal authority.
Here, this durable image has been given three-dimensional form, coming to life as the living embodiment of an actual head of state.
Lioness Eurocentric Scientists always talk sh*t. they always lie. This is the picture of how it was loduvico.
Giovanni Birago was also a contemporary of Da Vinci, the 15th century.
He was also a beneficiary of Il Moro.
He did paint a picture of Ludovico after having been commissioned to do so.
You admitted yourself that the painting is one of Ludovico.
Tell me I pray your Royal Skunty pink ass, what is your grouse with Rasta Livewire article besides the mistaken naming of the real painter? Posts: 7419 | From: North America | Registered: Mar 2009
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posted
Edgar Leoni on Ludovico, Il Moro, in his book “Nostradamus and his Prophecies, by Nostradamus” p. 553:
quote:Lodovico was called the Moor because of his complexion; he was very dark in colour and his origin derived from the original black Moors of Europe the first and only legitimate Kings. Contemporaries described his as the dark complected Ludovico the Moor. See Edgar Leoni, “Nostradamus and his Prophecies, by Nostradamus” p. 553.
The animated image of Il Moro seen here is the inspired, unique projection of a simple heraldic device already in long use by elite families and civic authorities in medieval and Renaissance Europe.
Displayed on innumerable flags and coats of arms, this was the silhouetted head of a moor, understood to be a black man, wearing a white headband.
The rationale for its use varied from a pun on a family name (such as Morese equals moor) to an evocation of universal authority.
Here, this durable image has been given three-dimensional form, coming to life as the living embodiment of an actual head of state.
...
Posts: 7419 | From: North America | Registered: Mar 2009
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Tales of Ethiopia as a mythical land at the farthest edges of the earth are recorded in some of the earliest Greek literature of the eighth century B.C., including the epic poems of Homer. Greek gods and heroes, like Menelaos, were believed to have visited this place on the fringes of the known world. However, long before Homer, the seafaring civilization of Bronze Age Crete, known today as Minoan, established trade connections with Egypt. The Minoans may have first come into contact with Africans at Thebes, during the periodic bearing of tribute to the pharaoh. In fact, paintings in the tomb of Rekhmire, dated to the fourteenth century B.C., depict African and Aegean peoples, most likely Nubians and Minoans. However, with the collapse of the Minoan and Mycenaean palaces at the end of the Late Bronze Age, trade connections with Egypt and the Near East were severed as Greece entered a period of impoverishment and limited contact.
During the eighth and seventh centuries B.C., the Greeks renewed contacts with the northern periphery of Africa. They established settlements and trading posts along the Nile River and at Cyrene on the northern coast of Africa. Already at Naukratis, the earliest and most important of the trading posts in Africa, Greeks were certainly in contact with Africans. It is likely that images of Africans, if not Africans themselves, began to reappear in the Aegean. In the seventh and early sixth centuries B.C., Greek mercenaries from Ionia and Caria served under the Egyptian pharaohs Psametikus I and II.
All black Africans were known as Ethiopians to the ancient Greeks, as the fifth-century B.C. historian Herodotus tells us, and their iconography was narrowly defined by Greek artists in the Archaic (ca. 700–480 B.C.) and Classical (ca. 480–323 B.C.) periods, black skin color being the primary identifying physical characteristic. It is recorded that Ethiopians were among King Xerxes' troops when Persia invaded Greece in 480 B.C. Thus, the Greeks would have come into contact with large numbers of Africans at this time. Nonetheless, most ancient Greeks had only a vague understanding of African geography. They believed that the land of the Ethiopians was located south of Egypt. In Greek mythology, the pygmies were the African race that lived furthest south on the fringes of the known world, where they engaged in mythic battles with cranes (26.49).
Ethiopians were considered exotic to the ancient Greeks and their features contrasted markedly with the Greeks' own well-established perception of themselves. The black glaze central to Athenian vase painting was ideally suited for representing black skin, a consistent feature used to describe Ethiopians in ancient Greek literature as well. Ethiopians were featured in the tragic plays of Aeschylus, Sophokles, and Euripides; and preserved comic masks, as well as a number of vase paintings from this period, indicate that Ethiopians were also often cast in Greek comedies.
Well into the fourth century B.C., Ethiopians were regularly featured in Greek vase painting, especially on the highly decorative red-figure vases produced by the Greek colonies in southern Italy (50.11.4). One type shows an Ethiopian being attacked by a crocodile, most likely an allusion to Egypt and the Nile River. Depictions of Ethiopians in scenes of everyday life are rare at this time, although one tomb painting from a Greek cemetery near Paestum in southern Italy shows an Ethiopian and a Greek in a boxing competition.
With the establishment of the Ptolemaic dynasty and Macedonian rule in Egypt, after the death of Alexander the Great in 323 B.C., came an increased knowledge of Nubia (in modern Sudan), the neighboring kingdom along the lower Nile ruled by kings who resided in the capital cities of Napata and later Meroe. Cosmopolitan metropolises, including Alexandria in the Nile Delta, became centers where significant Greek and African populations lived together.
During the Hellenistic period (ca. 323–31 B.C.), the repertoire of African imagery in Greek art expanded greatly. While scenes related to Ethiopians in mythology became less common, many more types occurred that suggest they constituted a larger minority element in the population of the Hellenistic world than the preceding period (18.145.10). Depictions of Ethiopians as athletes and entertainers are suggestive of some of the occupations they held. Africans also served as slaves in ancient Greece (74.51.2263), together with both Greeks and other non-Greek peoples who were enslaved during wartime and through piracy. However, scholars continue to debate whether or not the ancient Greeks viewed black Africans with racial prejudice.
Large-scale portraits of Ethiopians made by Greek artists appear for the first time in the Hellenistic period and high-quality works, such as images on gold jewelry and fine bronze statuettes, are tangible evidence of the integration of Africans into various levels of Greek society.
Between the two pictures, which one has the dark complected man...
Thanks for your time.
You know the delusional euronut claim. "Not real black". Only stereotypes count in euronut world.
Posts: 22234 | From: האם אינכם כילדי הכרית אלי בני ישראל | Registered: Nov 2010
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Mena, this is fake. ludovico is moor, dark skin, black men
Posts: 2922 | From: World Empire of the Black People | Registered: Jul 2011
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