The Morgan Bible (The Pierpont Morgan Library, New York, Ms M. 638) is a medieval picture bible of 43 folios. It is also called the Morgan Bible of Louis IX, the Book of Kings,[citation needed] the Crusader Bible, and the Maciejowski Bible. This book has long been thought to have been created under the direction of Louis IX of France in the mid-1240s, but Allison Stones, after indications of others such as François Avril, has long argued that it was most likely illuminated in the northern counties of France, ca. 1250 (cf most recently Allison Stones, "Questions of style and provenance in the Morgan Bible", in Between the Word and the Picture, Princeton, 2005)
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malibudusul - It is good that you posted this, because it gives me an opportunity to point out some things to you, and other researchers.
You must remember that the Albinos have been making fake Paintings, Statues, historical writings (false translations of ancient authors) and books for over two hundred years now. Therefore the world is now completely saturated with them, and finding authentic artifacts is very difficult.
here are some quick ways to identify fake Albino manuscripts right away.
The subject matter:
If it shows a White Jesus, Mary, etc. it is a fake. That convention is recent, and purely Albino, it bears no relation to actual history, therefore it cannot be real.
If it shows Albino Crusaders, it's fake. The main series of Crusades occurred between 1095 and 1291. This was a full 450 years after Arabs took the holy land, therefore the Crusades could NOT have been about Muslims being in control of the Holy land.
And it was not, the Crusades were about Black Christians, being outraged by "ALBINOS" (Turks) being in control of the Holy lands.
This is the event that caused the Crusades.
The Turk, Toghril Beg proclaimed himself sultan at Neyshabur in 1038, and had espoused strict Sunnism, by which he gained the Arab caliph's confidence. The Oguz Turks had accepted Islam late in the 10th century, and their leaders displayed a convert's zeal in their efforts to restore a Muslim polity along orthodox lines.
The Arab caliph al-Qa'im (reigned 1031–75) replaced the last Buyid's name, al-Malik al-Rahim, in the khutbah and on the coins, with that of Toghril Beg; and after protracted negotiation ensuring restoration of the caliph's dignity after Shi'ite subjugation, Toghril entered Baghdad in December 1055. The Arab caliph enthroned him and married a Seljuq princess. Thereafter Islam became the Turkish religion, as it remains today.
THE CRUSADES BEGAN 40 YEARS LATER!
In general, any picture which shows a lot of Albinos, especially in high positions, such as Kings and Popes, is a fake. Of course any picture which shows ONLY Albinos is a total fake.
Next you must consider the medium (what it's written on).
Vellum (or parchment)
In the Middle Ages, illuminated manuscripts were prepared on vellum, as were other documents. Originally, "vellum" referred to a translucent white writing surface made by the Hebrews before 1000 BC. It was prepared from untanned calfskin by drying it under tension after it was cleaned, de-haired and scraped. After it was stretched, it was polished with pumice, which is an abrasive, and talc, which is a filler, as a final preparation for writing.
One of the special things about vellum is that you can still see the "HAIR" marks.
This document is said to be: Troyes, Bibliothèque Municipale, MS 504 is an early 7th century illuminated manuscript of the Pastoral Care by Pope Gregory I, circa 600 A.D. But as with all Albino pronouncements, that is probably a lie.
quote:
PAY CLOSE ATTENTION HERE!!!
Modern Preparation
In the late 1800s, a paper product with properties similar to vellum was created by treating and embossing wood pulp and/or cotton fiber. This paper is thick, ivory-colored and semi-translucent with a low gloss. It also might be called vellum paper, imitation vellum, vegetable vellum Japanese vellum.
In the 1990’s a type of paper with many of the same properties as vellum emerged. This new paper was manufactured by embossing treated pulp and cotton fibers. The result being a lower gloss, less translucent, milky white in color, and slightly thicker form of vellum paper which is referred to as imitation vellum, Japanese vellum, or vegetable vellum.
The Albinos can't seem to agree on when "Vegetable Vellum" was invented.
Why is that important?
BECAUSE ALL OF THEIR FAKE DOCUMENTS ARE PRINTED ON VEGETABLE VELLUM!
This is a page from their "Fake" Morgan Picture Bible, which is SUPPOSED to be from 1240 A.D.
COMPARE IT TO AN "AUTHENTIC" DOCUMENT MADE FROM THE SAME TYPE OF PAPER - THAT IS ALMOST 500 YEARS "YOUNGER".
On July 19, 1776, Congress ordered an official copy of the Declaration to be engrossed on vellum and signed by the members. Timothy Matlack, the clerk of Secretary of Congress Charles Thomson, was chosen to copy the text of the Declaration onto a large vellum sheet, which would then be signed by the delegates. The title of the Declaration was changed to “The Unanimous Declaration of the Thirteen United States of America,” after New York voted for independence on July 9.
As you can clearly see, the Albinos have created so many lies regarding history, that even they can't keep track of them.Posts: 22721 | Registered: Oct 2005
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^That Bastion of Albino bullhs1t; THE BRITISH LIBRARY, has thousands of these FAKE manuscripts, SUPPOSEDLY from the early medieval.
Please note; the medium is "VEGETABLE VELLUM".
How do we know that?
No hair lines, and the ink on the previous page has bled through! That would NOT happen with "REAL MEDIEVAL VELLUM". (Also some pages have paper tears).
Yet as we now know, that type of Vellum was not invented until at least the 1700s.
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I very much enjoyed this text. Thank you. They made many fakes there must be some document giving orders to make manuscripts false. After, talk about the paintings
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I thought they just become white the black person of the manuscript
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This document with the normal hair lines visible, is said to be: Troyes, Bibliothèque Municipale, MS 504 is an early 7th century illuminated manuscript of the Pastoral Care by Pope Gregory I, circa 600 A.D. But as with all Albino pronouncements, that is probably a lie. It is probably MUCH younger.
It is always difficult to analyze an artifact, when all you have to work with is a picture.
So what I try to do, is find a artifact of the same type, that the Albinos are not likely to lie about, and compare them.
Here we are just looking to see what Vellum looks like as it ages, and what kind of damage it is likely to suffer.
As can clearly be seen, the material in the British library is very young. Their forgeries are probably less that 200 years old - perhaps much less.
Ancient Coptic manuscript on vellum (Old Testament) 10th Century AD.
Hand-written vellum Torah fragment approximately 400 years old from Tunisia.
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They have good appearance because they have been restored
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4th-century fresco of a bearded Christ in the Catacomb of Commodilla.
Virgin and Child - Wall painting from the Roman catacombs (early Christian catacomb). Date: Fourth century
Orans in the Catacomb in Via Anapo, Rome, from the middle of the 3rd Century AD. Photo: akg-images / Pirozzi
Orans (Latin, praying) or Orante is a figure with extended arms or bodily attitude of prayer, usually standing, with the elbows close to the sides of the body and with the hands outstretched sideways, palms up.[1] It was common in early Christianity and can frequently be seen in early Christian art. In modern times, the orans position is still preserved within parts of the Orthodox and Catholic liturgies, Pentecostal and charismatic worship, and the ascetical practices of some religious groups Posts: 42920 | From: , | Registered: Jan 2010
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quote:Originally posted by the lioness: 4th-century fresco of a bearded Christ in the Catacomb of Commodilla.
Orans in the Catacomb in Via Anapo, Rome, from the middle of the 3rd Century AD. Photo: akg-images / Pirozzi
Orans (Latin, praying) or Orante is a figure with extended arms or bodily attitude of prayer, usually standing, with the elbows close to the sides of the body and with the hands outstretched sideways, palms up.[1] It was common in early Christianity and can frequently be seen in early Christian art. In modern times, the orans position is still preserved within parts of the Orthodox and Catholic liturgies, Pentecostal and charismatic worship, and the ascetical practices of some religious groups
Thank you Lioness - This goes to show that when you limit yourself to conventional Albino lies, instead of making up your own lies, you serve as an important vetting agent for thread subjects.
In this case, your posts demonstrates that it is ALWAYS foolish for Blacks to take an Albinos word for ANYTHING.
Thought the first image of Jesus above looks very authentic, it is of course a fake. But we do not need to take paint samples to prove that. a simply reading of history will suffice.
The last image, the one with the Black Christ, is of course, the only authentic image.
Depiction of Jesus
The depiction of Jesus in art took several centuries to reach a conventional standardized form for his physical appearance, which has subsequently remained largely stable since that time. Most images of Jesus have in common a number of traits which are now almost universally associated with Jesus, although variants are seen.
The image of a fully bearded Jesus with long hair did not become established until the 6th century in Eastern Christianity (that's the Orthodox Church in Turkey - formerly Byzantium), and much later in the West (1700s)?
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Byzantium was an ancient Greek city, founded by Greek colonists from Megara in 657 BC and named after their king Byzas. The name Byzantium is a Latinization of the original name Byzantion. The city was later renamed Nova Roma by Constantine the Great, but popularly called Constantinople and briefly became the imperial residence of the classical Roman Empire.
Then subsequently the city was, for more than a thousand years, the capital of the Byzantine Empire, the Greek-speaking Roman Empire of late Antiquity and the Middle Ages. Constantinople was captured by the Ottoman Turks, becoming the capital of their empire, in 1453. The name of the city was officially changed to Istanbul in 1930 following the establishment of modern Turkey.
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^Of course Albinos have taken over in Turkey also, and of course as elsewhere, they have busied themselves creating fake artifacts to support their fake history.
The normal convention of the Orthodox church (which is of course Albino) is to depict early Christians as Black skinned - but with European Albino features.
It has many black the others must have been whitened
There are some irritating advertisements on ES when you log in.
I found this wall hanging early in my research and somehow it stuck with me as a Habsburg wedding, I do not remember why.
There is the symbolic Moor and the other brownskinned nobles, and fair looking ones.
These fair looking ones are not whites, cannot be whites. THey remind me of Kaddafy or Mubarak or king Mohammed VI from Morrocco. THey are Africans, yet fair but cannot be called white. Who says that this type did not make it to Europe with the other Classical Blacks?
With noble blood it became like the onedrop rule, people claiming to have a noble ancestor. But I still maintain that in spite of their facial feautures the elite was to recognized by their complexion, and any misunderstanding today comes from the unrealistic and idealised images we are presented with. They are not showing us all there is, all they have. We just need to stick to our own convictions.
HRH.Mohammed VI, the dashing Morrocan King who starves his people and is a bi-sexual. He is fair, but cannot be called white.
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quote:Originally posted by malibudusul: Well remembered, Mike. That means they must have the originals stored or thrown in the trash
*Egmond talked about it restorers call it of "Intervention"
Bless your heart, At least one person was listening, I still need to thank you for the Black female pope, an extraordinary find, never seen the likes of. Please, whatever you will do, do not adopt the rant type of voice, It's tacky and uncivilised and people will think you have a insane hatred of whites, which is bad for sex too, and people will believe you to be biased in your research. Let the findings speak for themselves, that is shocking enough: They have been hiding the truth, building museums on a lie, no need to curse them out in your discursive texts: people will think you are some alcoholic without any self-control. Not all Blacks in the world are getto trash, mind you. Some have very fine manners and lifestyles, travel, meet with important people, keep their own museum; they do not go for gettofabulous trash behaviour: they behave themselves.
I have noticed some whitening, over paint, of old miniatures, you can notice, or can be deduced from the scene, but some figures were conceived as whites. If there is a symbolic Moor present, whiteness stands for christianity and beauty. There were blackskinned people with blond hair, and fair Blacks. One really has to be very cautious about the images, not taking them at eye-value. They were not twenty century people dealing with modern ideas about black and white, or concerned with the idea that their rule would end. That's why I advice you to read Emma (1816) by Jane Austen because she saw the world changing and Blacks losing power by their own folly. But all this about vegetable vellum is most enlightening. I want to thank Mr. Mike111 for some, not all, of his words on this matter.
William of Orange with his second white wife? An afrocentric image to higligt his very dark colour and some prognathism and frizzled hair, to show him as of high nobility.
Elector Moritz von Sachsen, the father of Anne von Sachsen: could she have been white looking with such a coal-black father? But if you look at her features I see Classical African facial traits as well. Her white skin here only symbolises beauty.
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This wall painting, depicting the Healing of the Paralytic, is the earliest known representation of Jesus, dating from about 235 AD. The painting was found in 1921 on the left-hand wall of the baptismal chamber of the house-church at Dura-Europos on the Euphrates River in modern Syria. It is now part of the Dura Europos collection at the Yale University Gallery of Fine Arts.
Mural painting from the catacomb of Commodilla. Bust of Christ. This is one of first bearded images of Christ. Earlier Christian art in Rome portrayed Jesus most often as the Good Shepherd, disguised as Orpheus, young, beardless and in a short tunic. During the 4th century Jesus was beginning to be depicted as a man of identifiably Jewish appearance, with a full beard and long hair, a style not usually worn by Romans. The symbols on either side are Alpha and Omega signifying "I am the beginning and the end".
Tacitus (circa 70 A.D.) on the origins of the Hebrews.
Tacitus: History Book 5
2. As I am about to relate the last days of a famous city, it seems appropriate to throw some light on its origin. Some say that the Jews were fugitives from the island of Crete, who settled on the nearest coast of Africa about the time when Saturn was driven from his throne by the power of Jupiter. Evidence of this is sought in the name. There is a famous mountain in Crete called Ida; the neighbouring tribe, the Idaei, came to be called Judaei by a barbarous lengthening of the national name.
Others assert that in the reign of Isis the overflowing population of Egypt, led by Hierosolymus and Judas, discharged itself into the neighbouring countries. Many, again, say that they were a race of Ethiopian origin, who in the time of king Cepheus were driven by fear and hatred of their neighbours to seek a new dwelling-place.
Others describe them as an Assyrian horde who, not having sufficient territory, took possession of part of Egypt, and founded cities of their own in what is called the Hebrew country, lying on the borders of Syria. Others, again, assign a very distinguished origin to the Jews, alleging that they were the Solymi, a nation celebrated in the poems of Homer, who called the city which they founded Hierosolyma after their own name.
As I have said time and time again, believe NOTHING the Albinos tell you!
The CGI model created in 2001 depicted Jesus's skin color as being darker and more olive-colored than his traditional depictions in Western art.
An 18-second video sample from episode three of the BBC history series Son of God. The video is a sample of an animation produced by design team Red Vision, and displays a facial reconstruction created by forensic anthropologist Richard Neave. Neave's reconstruction was based on a skull of a first-century Galilean Semite.
And do not be fooled by modern Albinos, they are merely trying to protect their false history by incorporating SOME truth. (Believing that the BEST LIE is a lie with a little truth in it).
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Egmond, What is the name of this painting and where did you find?
I think it was whitened I see black people behind I see black phenotypes. Were cleared, sure.
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quote:Originally posted by malibudusul: Egmond, What is the name of this painting and where did you find?
I think it was whitened I see black people behind I see black phenotypes. Were cleared, sure.
quote:Originally posted by malibudusul: Egmond, I think you did not understand what I wrote.
I said: I do not know what the restorers make with the original manuscripts
I do not know if they hold or put in the trash
What painting? The wall hanging with the Moor and a wedding train? I do not know where it comes from.
Some works, miniatures are authentic and with a over paint, some are entire material fakes, some stuff is hidden in private collections. They do not seem to trow things away. They sit on it with their pink, mushy asses.
They make us grief.
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I could not copy the handsome pharaoh in my answer, but I do not believe in an eternal fight between white and Black, as something like a fight between good and evil. The Black European nobles had the white serfs flayed alive, which explains the fair and hatred toward Blacks, today. Our present state is not influenced by wars from 3000 or 2000 years ago, but from events at the start of the Modern Era and the end of The Medieval Era.
I was in Aswan and was shown black images by the Nubian guide, but I did not know a thing then. They point out something and stand back, and await your comments. The people in the know can better appreciate what is shown to them.
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Jesus Description of Publius Lentullus: (a Roman Consul during the reign of Augustus (63 BC-14 AD),
" In the midst of His head is a seam or partition in His hair, after the manner of the Nazarenes. His forehead plain and very delicate; His face without spot or wrinkle, beautified with a lovely red; His nose and mouth so formed as nothing can be reprehended; His beard thickish, in colour like His hair, not very long, but forked"
____________________________________________
letter from Pontius Pilate to Tiberius Caesar
"One day I observed in the midst of a group of people a young man who was leaning against a tree, calmly addressing the multitude. I was told it was Jesus. This I could easily have suspected so great was the difference between Him and those who were listening to Him. His golden colored hair and beard gave to his appearance a celestial aspect. He appeared to be about 30 years of age.Never have I seen a sweeter or more serene countenance. What a contrast between Him and His bearers with their black beards and tawny complexions! "
(note: Jesus may be depicted at different ages)
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Thank you Lioness - As I said, you are an invaluable asset in helping us to expose the lies of the Albinos. That because you seem to know all the Albino lies and post them here for us to debunk and expose.
Once again - thank you!
quote:Originally posted by the lioness:
Jesus Description of Publius Lentullus: (a Roman Consul during the reign of Augustus (63 BC-14 AD),
" In the midst of His head is a seam or partition in His hair, after the manner of the Nazarenes. His forehead plain and very delicate; His face without spot or wrinkle, beautified with a lovely red; His nose and mouth so formed as nothing can be reprehended; His beard thickish, in colour like His hair, not very long, but forked"
CATHOLIC ENCYCLOPEDIA
Publius Lentulus is a fictitious person, said to have been Governor of Judea before Pontius, and to have written the following letter to the Roman Senate:
Lentulus, the Governor of the Jerusalemites to the Roman Senate and People, greetings. There has appeared in our times, and there still lives, a man of great power (virtue), called Jesus Christ. The people call him prophet of truth; his disciples, son of God. He raises the dead, and heals infirmities. He is a man of medium size (statura procerus, mediocris et spectabilis); he has a venerable aspect, and his beholders can both fear and love him. His hair is of the colour of the ripe hazel-nut, straight down to the ears, but below the ears wavy and curled, with a bluish and bright reflection, flowing over his shoulders. It is parted in two on the top of the head, after the pattern of the Nazarenes. His brow is smooth and vary cheerful with a face without wrinkle or spot, embellished by a slightly reddish complexion. His nose and mouth are faultless. His beard is abundant, of the colour of his hair, not long, but divided at the chin. His aspect is simple and mature, his eyes are changeable and bright. He is terrible in his reprimands, sweet and amiable in his admonitions, cheerful without loss of gravity. He was never known to laugh, but often to weep. His stature is straight, his hands and arms beautiful to behold. His conversation is grave, infrequent, and modest. He is the most beautiful among the children of men.
Different manuscripts vary from the foregoing text in several details: Dobschutz ("Christusbilder", Leipzig, 1899) enumerates the manuscripts and gives an "apparatus criticus" . The letter was first printed in the "Life of Christ" by Ludolph the Carthusian (Cologne, 1474), and in the "Introduction to the works of St. Anselm" (Nuremberg, 1491). But it is neither the work of St. Anselm nor of Ludolph. According to the manuscript of Jena, a certain Giacomo Colonna found the letter in 1421 in an ancient Roman document sent to Rome from Constantinople. It must be of Greek origin, and translated into Latin during the thirteenth or fourteenth century, though it received its present form at the hands of humanist of the fifteenth or sixteenth century. The description agrees with the so-called Abgar picture of our Lord; it also agrees with the portrait of Jesus Christ drawn by Nicephorus, St. John Damascene, and the Book of Painters (of Mt. Athos). Munter ("Die Sinnbilder und Kunstvorstellungen der alten Christen", Altona 1825, p. 9) believes he can trace the letter down to the time of Diocletian; but this is not generally admitted. The letter of Lentulus is certainly apocryphal: there never was a Governor of Jerusalem; no Procurator of Judea is known to have been called Lentulus, a Roman governor would not have addressed the Senate, but the emperor, a Roman writer would not have employed the expressions, "prophet of truth", "sons of men", "Jesus Christ". The former two are Hebrew idioms, the third is taken from the New Testament. The letter, therefore, shows us a description of our Lord such as Christian piety conceived him.
Publius Lentulus was, according to the Deeds of the Divine Augustus, a Roman Consul during the reign of Augustus (63 BC-14 AD), said to have been Governor of Judea before Pontius Pilate, and to have written a letter to the Roman Senate, concerning Jesus. An English translation of the letter was published in 1680.
The letter of Lentulus is regarded as (a lie - me) for a number of reasons. No Governor of Jerusalem; no Procurator of Judea is known to have been called Lentulus and a Roman governor would not have addressed the Senate in the way represented, but the Deeds of the Divine Augustus list a Publius Lentulus as being elected as a Roman Consul during the reign of Augustus (63 BC-14 AD). Lastly a Roman writer would not have employed the expressions, "prophet of truth", "sons of men" or "Jesus Christ". The former two are Hebrew idioms, the third is taken from the New Testament.
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quote:Originally posted by the lioness: letter from Pontius Pilate to Tiberius Caesar
Quote: "One day I observed in the midst of a group of people a young man who was leaning against a tree, calmly addressing the multitude. I was told it was Jesus. This I could easily have suspected so great was the difference between Him and those who were listening to Him. His golden colored hair and beard gave to his appearance a celestial aspect. He appeared to be about 30 years of age.Never have I seen a sweeter or more serene countenance. What a contrast between Him and His bearers with their black beards and tawny complexions!"
Pontius Pilate
Pilate in mythology
Little enough is still known about Pilate, but mythology has filled the gap. A body of fiction built up around the dramatic figure of Pontius pilate, about whom the Christian faithful hungered to learn more than the canonical gospels revealed. Eusebius (Historia Ecclesiae book ii: 7), quotes some early apocryphal accounts that he does not name, which already relate that Pilate fell under misfortunes in the reign of Caligula (37 - 41 A.D.), was exiled to Gaul and eventually committed suicide there, in Vienne. Other details come from less respectable sources. His body, says the Mors Pilati ('Death of Pilate') was thrown first into the Tiber, but the waters were so disturbed by evil spirits that the body was taken to Vienne and sunk in the Rhone: a monument at Vienne, called Pilate's tomb, is still to be seen. As the waters of the Rhone likewise rejected Pilate's corpse, it was again removed and sunk in the lake at Lausanne. Its final disposition was in a deep and lonely mountain tarn, which, according to later tradition, was on a mountain, still called Pilatus (actually pileatus or 'cloud-capped'), close to Lucerne. Every Good Friday the body re-emerges from the waters and washes its hands. There are many other legends about Pilate in the folklore of Germany, and his death was (unusually) dramatized in a medieval mystery play cycle from Cornwall, the Cornish Ordinalia.
Pilate's role in the events leading to the crucifixion lent themselves to melodrama, even tragedy, and Pilate often has a role in medieval mystery plays.
Acts of Pilate The 4th century forgery, called the Acts of Pilate presents itself in a preface (missing in some mss) as derived from the official acts preserved in the praetorium at Jerusalem. Though the alleged Hebrew original of the document is attributed to Nicodemus, the title Gospel of Nicodemus for this fictional account is even later in origin. Nothing in the text suggests that it is in fact a translation from Hebrew.
This forgery gained wide credit in the Middle Ages, and has considerably affected the legends surrounding the events of the crucifixion, which, taken together, are called the Passion. Its popularity is attested by the number of languages in which it exists, each of these being represented by two or more variant 'editions': Greek (the original), Coptic, Armenian and Latin versions. The Latin versions were printed several times in the fifteenth and sixteenth centuries.
One class of the Latin manuscripts contain as an appendix or continuation, the Cura Sanitatis Tiberii, the oldest form of the Veronica legend.
The Acta Pilati consist of three sections, whose styles reveal three authors at three different times.
The first section (i-xi) contains a fanciful and dramatic circumstantial account of the trial of Jesus, based upon Luke, xxiii.
The second part (xii-xvi) regards the Resurrection. An appendix, detailing the Descensus ad Infernos was added to the Greek text. This 'Harrowing of Hell' has chiefly flourished in Latin, and was translated into many European versions. It doesn't exist in the eastern versions, Syriac and Armenian, that derive directly from Greek versions. In it, Leucius and Charinus, the two souls raised from the dead after the Crucifixion, relate to the Sanhedrin the circumstances of Christ's descent to Limbo.
The well-informed Eusebius (325), although he mentions an Acta Pilati that had been referred to by Justin and Tertullian and other pseudo-Acts of this kind, shows no acquaintance with this work. Almost surely it is of later origin, and scholars agree in assigning it to the middle of the fourth century. Epiphanius refers to an Acta Pilati similar to our own, as early as 376, but there are indications that the current Greek text, the earliest extant form, is a revision of an earlier one.
Minor Pilate literature There is a forged letter reporting on the crucifixion, purporting to have been sent by Pontius Pilate to the Emperor Claudius embodied in the pseudepigraphic forgery known as the Acts of Peter and Paul, of which the Catholic Encyclopedia states, "This composition is clearly apocryphal though unexpectedly brief and restrained." There is no internal relation between this feigned letter and the 4th century Acts of Pilate (Acta Pilati).
This Epistle or Report of Pilate is also inserted into the Pseudo-Marcellus Passion of Peter and Paul. We thus have it in both Greek and Latin versions.
More of Pilate's fictional correspondence is found in the minor Pilate apocrypha, the Anaphora Pilati ('Relation of Pilate,'), an 'Epistle of Herod to Pilate; and an 'Epistle of Pilate to Herod,' spurious texts that are no older than the fifth century.
Fact-index.com This article is from Wikipedia.
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For those interested in "Pin-pointing" exactly when the European Albinos first started to "Act-up" in prelude to insurrection.
I think that a careful analysis of when these types of Albino "Fantasy lies" first started to appear, will give a good idea of time-frame.
BTW - Do not believe the dates given for the forgeries by Albinos - they ARE Albinos you know. Though the dates are possible - only because they coincide with the Goths conquest of Rome.
But though some Goths were Christians, there is no evidence that the Goths were that interested in Christianity to where they would trouble themselves to make up Christian myth that early in their time.
It is much more likely that these Albino "Lie Myths" first began in the medieval, just in time for their insurrection against their Black lords.
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^One must not forget that after the Goths were expelled from Rome: both the Black Holy Roman Empire in Germany and the Black Roman Empire in Constantinople, would have denounced such lies as heresy and destroyed the documents and their writers.
Therefore these "Lie Myths" must have begun AFTER the Albinos had taken control - probably the late 1700s.
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^When combined with fake Albino pictures, I find this Wiki definition of Saracen interesting to say the least.
Etymology of the word Arab It is in the case of the Assyrian forms that a possible derivation from ʿgh-r-b ("west") is most plausible, referring to people or land lying west of Assyria in a similar vein to the later Greek use of the term Saracen meaning in Arabic "Easterners", šarqiyyūn for people living in the east.
Saracen
Saracen is an historical term for a certain group of people but the meaning changed during its history. In the early centuries AD in Greek and Latin it referred to a people who lived in desert areas in and near the Roman province of Arabia, and who were specifically distinguished from Arabs.
In Europe during the Early Middle Ages, the term began to be used to describe Arab tribes. By the 12th century, "Saracen" had become synonymous with "Muslim" in Medieval Latin literature. This expansion of the meaning had begun centuries earlier among the Byzantine Greeks, as evidenced in Byzantine Greek documents from the era of the Muslim Umayyad Caliphate.
Early usage and origins
Ptolemy's Geography from the second century CE describes Sarakene as a region in the northern Sinai peninsula. Ptolemy also mentions a people called the Sarakenoi living in north-western Arabia (near neighbor to the Sinai). Eusebius of Caesarea references Saracens in his Ecclesiastical history, in which he narrates an account wherein Dionysus, Bishop of Alexandria mentions Saracens in a letter while describing the Roman emperor Decius' persecution: "Many were, in the Arabian mountain, enslaved by the barbarous sarkenoi." The Historia Augusta also refers to an attack by Saraceni on Pescennius Niger's army in Egypt in 193 CE but provides little information on who they might have been.
Both Hippolytus and Uranius mention three distinct peoples in Arabia during the first half of the third century: the Saraceni, the Taeni and the Arabes. The Taeni, later identified with the Arabic speaking people called Tayy, were located around the Khaybar oasis north of Medina, and also in an area stretching up to the Euphrates river, while the Saraceni were placed north of them. These Saracens located in the northern Hejaz appear as people with a certain military ability who are opponents of the Roman Empire and who were characterized by the Romans as barbarians.
The Saracens are described as forming the equites (heavy cavalry) from Phoenicia and Thamud. In one document the defeated enemies of Diocletian's campaign in the Syrian desert are described as Saracens. Other 4th century military reports make no mention of Arabs but refer to as Saracens groups ranging as far east as Mesopotamia (modern Iraq) that were involved in battles on both the Persian and Roman sides. They are described in the Roman administrative document Notitia dignitatum—dating from the time of Theodosius I in the 4th century—as comprising distinctive units in the composition of the Roman army and they are distinguished in the document from Arabs and Iiluturaens.
Usage of the term in the Latin West changed as the Middle Ages progressed, but its connotation remained negative and its exact definition continued to be unclear. In an 8th century polemical work, John of Damascus criticized the Saracens as followers of a false prophet and "forerunner[s] to the Antichrist." Two centuries later, Europeans perceived Saracens as poor, uneducated idolaters belonging to a group wholly separate from the Arabs who brought Aristotle to the Latin West and the Moors and Berbers fighting Christians in Spain; someone who got all of his or her information on Islam from medieval sources would not conclude the three groups represented one continuous culture. Medieval literature and race
By the 12th century, Medieval Europeans had more specific conceptions of Islam and "Saracen" had become a racial and religious marker. In some Medieval literature Saracens—that is, Muslims—are black-skinned, while Christians are fair-skinned. An example is in The King of Tars, a medieval romance. The Song of Roland, an Old French 11th-century heroic poem, takes the association of black skin with Saracens a step further by making it their only exotic feature.
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As usual it is historically correct, what do you wish to take issue with?
quote:Originally posted by Mike111:
This is the event that caused the Crusades.
The Turk, Toghril Beg proclaimed himself sultan at Neyshabur in 1038, and had espoused strict Sunnism, by which he gained the Arab caliph's confidence. The Oguz Turks had accepted Islam late in the 10th century, and their leaders displayed a convert's zeal in their efforts to restore a Muslim polity along orthodox lines.
The Arab caliph al-Qa'im (reigned 1031–75) replaced the last Buyid's name, al-Malik al-Rahim, in the khutbah and on the coins, with that of Toghril Beg; and after protracted negotiation ensuring restoration of the caliph's dignity after Shi'ite subjugation, Toghril entered Baghdad in December 1055. The Arab caliph enthroned him and married a Seljuq princess. Thereafter Islam became the Turkish religion, as it remains today.
I was sent an email which identified the heraldry in the back ground. Do not have it here though. How do you know its German?
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Hochzeitsfeier im Jahre 1548, nach einem Bildteppich im Kunstgewerbemuseum zu Berlin. (Wedding ceremony in 1548, for a tapestry in the Museum of Decorative Arts in Berlin.)
unrelated later period interesting looking fellow:
Hans Joachim von Zieten[1] (May 14, 1699 – January 26, 1786), also known as Zieten aus dem Busch, was a cavalry general in the Prussian Army. He served in numerous wars and battles during the reign of Frederick the Great. Posts: 42920 | From: , | Registered: Jan 2010
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posted
I got right is German. Do not have only one black, has many I'm seeing many
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Hochzeitsfeier im Jahre 1548, nach einem Bildteppich im Kunstgewerbemuseum zu Berlin. (Wedding ceremony in 1548, for a tapestry in the Museum of Decorative Arts in Berlin.)
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