posted
I read an interesting article about Thomas Cromwell. He was Henry the 8th's right hand man and enforcer until Henry tired of him and whacked him.
Henry 8 is important because he broke with the Catholic Church, established the Church of England, and confiscated the Catholic Church's wealth in England.
According to Mike's theory, the Catholic Church was the Church that provided the ideological cover for the rule of the Black nobility and that the Protestant -Catholic conflict was really an ethnic conflict. Whites attempting to break away from Black rule.
this article is interesting because it specifically refers to Cromwell destroying precious Catholic artwork.......also interesting is that Oliver Cromwell is a descendant of Thomas Cromwell.
Oliver being famous for his genocides in Ireland and Scotland and enslaving what Mike has shown to be the many of the Black British inhabitants into slavery in the New World.....
Re Thomas Cromwell: " And then there is his impact on this country’s artistic and intellectual heritage. No one can be sure of the exact figure, but it is estimated that the destruction started and legalised by Cromwell amounted to 97% of the English art then in existence. Statues were hacked down. Frescoes were smashed to bits. Mosaics were pulverized. Illuminated manuscripts were shredded. Wooden carvings were burned. Precious metalwork was melted down. Shrines were reduced to rubble. This vandalism went way beyond a religious reform. It was a frenzy, obliterating the artistic patrimony of centuries of indigenous craftsmanship with an intensity of hatred for imagery and depicting the divine that has strong and resonant parallels today."
Another interesting point: Cromwell (son of Walter Cromwell, a blacksmith, fuller and cloth merchant, and owner of both a hostelry and a brewery) and his first patron, the Cardinal Wolsey ( son of Robert Wolsey - widely thought to have been a butcher and a cattle dealer),
....are both from the lower classes and where able to move up due to reforms started by Henry 7 who wanted to break the back of the traditional nobility by bringing in and elevating commoners who would be beholden to him.
If Mike's theories are correct, then the Cromwell's anti black hostility may have come from the fact that they were White commoners and finally achieved the political power to act on their anti black/royalist beliefs....
Oliver later executed the Black King Charles I
Posts: 2818 | From: new york | Registered: Apr 2014
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posted
Mike & Kdolo my two White people hating, Black racist Black supremacist enemies (we all know you are one in the same), Charles I was NOT Black. Why can't you be happy with the legacy your own ancestors left you IN AFRICA instead of trying to steal other people's? Why do you hate Whites so much? Why don't you want White children having a future? Why do you want to rob White children of their future & their past?
Posts: 3257 | From: Madisonville, KY USA | Registered: Nov 2011
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posted
" the destruction started and legalised by Cromwell amounted to 97% of the English art then in existence."
"an intensity of hatred for imagery and depicting the divine that has strong and resonant parallels today."
Doxie,
you must admit, this describes exactly the type of destruction that Mike theorized ... to destroy 97% of all existing artwork implies a genocidal zeal to eradicate all evidence of what was depicted ..........what kind of sick mind would do something like that ..... not even modern Muslims go that far ....97% !!!!
What was depicted ? .....black kings, queens, saints, nobles, Black Jesus, the divine as Black etc.....the Catholic Church, Countries, and Eastern Orthodox still have their Black religious artifacts....
I then speculate, that during this shift in power, Black and Black descended nobles were forced to suppress open acknowledgement of their Black heritage and were forced to do so secretively ..... using symbols in their propaganda art .... the black pages, black boys and girls offering jewels, food, etc...
Furthermore, they were forced to "whiten up" by
1.using white make up to make themselves appear more like the people they ruled....
2. allowing more Whites/the lower orders to marry in ....(of course those with money, military success, and the ambition)
Notice the big whites wigs and white face powder start to become the style in this period and after ..... it is like Blacks (and Asians) today who use skin bleach and blonde wigs to try and lighten up in order to "fit in"....
(please someone research this ... the white face powder style - its history....)
-------------------- Keldal Posts: 2818 | From: new york | Registered: Apr 2014
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posted
Kdolo its your Black racist, Black supremacist views that make you want to believe that at one time Blacks were on top & Whites were on the bottom in Europe, after all this is what you truly want to happen. Solely your Anti-White hatred for Whites. That is what makes you want to harm White children. That is what makes you want to rob White children of their history, their heritage, their homeland, their identity, their pride, their right to exist, their knowledge of self. This is what makes you want to teach White children that they are inferior, less than, non-human. This is what makes you want for White children to have no future. That is what makes you want to rob White children of their future & their past.
Posts: 3257 | From: Madisonville, KY USA | Registered: Nov 2011
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posted
Doxie, when you destroy 97% of a thing, you are trying to not only destroy, but hide something as well ........ erasing it from history as if it never existed ...
-------------------- Keldal Posts: 2818 | From: new york | Registered: Apr 2014
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quote:Artists have been copying the images and the styles of other artists for thousands of years. Up until around the 16th Century this was a common practice, used to pass down historical, religious and artistic tradition for future generations. Copying the work of others, and particularly the Masters, was a normal part of any artist's academic training. It still is, in major art schools, a normal and required part of an art student's cirriculum. The purpose of art in those days was for historical reference, religious inspiration, or simply aesthetic enjoyment; and the identity of the artist was of little importance. Accomplished artists were respected and rewarded handsomely; but few knew or cared who they were except perhaps for their patrons, who were usually the Church or the State.
Redistribution of the world’s wealth after the Renaissance created an explosive demand for art by a newly educated and prosperous mercantile middle class. Guilds of Master artists and students became virtual factories for art that was produced to fill this demand. The sale of State and Ecclesiastical art collections created new secondary markets in the form of dealers, galleries and auction houses. For the first time in history, art became a commercial commodity.
Some criterion for judging the monetary value for all this art was needed, and the most readily available one was the identity of the artist. First, this took the form of mark on the work, and later a signature. As the demand for fine art far exceeded the supply, misuse of these marks and signatures became rampant. Controlling legislation was enacted as it always is whenever commerce enters the picture, and the formerly respected tradition of copying art became art forgery.
The laws of supply and demand dictate that there will be no end to the growing commercial value for a limited number of great works of art; and as long as those who deal in the commercial aspects of art — galleries, art dealers, auction houses and the media — are involved as the arbiters of criteria in judging art, market prices will continue to rise and art forgery will proliferate.
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