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Posted by Egmond Codfried (Member # 15683) on :
 


King Charles II Stuart, alias The Black Boy
 

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Posted by Marc Washington (Member # 10979) on :
 
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Now, that's what I call a good picture. Nice evidence! I wouldn't have believed it had I not seen this with my own eyes that England, even at that late date still had prominent black kings.

In North Africa, America, India, Mexico, wherever whites went, Africans and other native populations were killed by the tens and hundreds of thousands and even millions from white diseases they'd not been exposed to like chicken pox and small pox.

During the time of Stuart in 1665 was the Great Plague. I wonder if this was somehow a period where England still had a Negro / African population and whites entered in large numbers bringing that killing disease with them. Whites'd not be so adversely affected as they were carriers and developed immunity but Africans had no antibodies to defend themselves.

Do you have information on the numbers of blacks / Africans in England at that time? They were numerous as the May Day Celebration was spoken of in Van Sertima's book, THE GOLDEN AGE OF THE MOOR, as being an African holiday that whites carried on.

But, in terms of actual numbers of Africans in England, Wales, Scotland, Ireland then I have no numbers. Would you have actual numbers, by any chance?

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Posted by Marc Washington (Member # 10979) on :
 
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Just ran into some work of yours, Cogfried, at http://thestudyofracialism.org/about5105.html:



[Maria Jacoba van Goor (1687-1737), a very rich regentclass Dutch woman. Some see African features. Her granddaughter mentions that she herself does not have the white hands, a eufemism for coloured skin.]



[William of Orange, dark and prognastic]




An earlier portrait of William of Orange.


Keep up the good work. You are pioneering an area no other person, to my knowledge, is working in. You are doing historically important work.

Carry on.

Marc

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Posted by IronLion (Member # 16412) on :
 
William of Orange I would call one of the so called whites.

But Charles II is clearly a so-called black.

Now the interesting thing is that the English lords invited William of Orange to come run out the line of Charles II.

Now the Orange Order is an order formed to promote the works and legacies of William Orange haired boy. The Orange order is a protestant fraternity similar to KKK. they are a bunch of racists and orange supremacist. They are spread all over the world.

Read about the house of Orange and how it overthrew the legacy of Charles II and how they still celebrate that victory from red neck south Africa to red neck part Australia.

I will be back with more.

Egmond keep up your good work.

Greetings Marc!

Lion
 

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Posted by xyyman (Member # 13597) on :
 
Definitely some interesting articles. But stay away from the gay porn stuff. Keep it clean.

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Originally posted by Egmond Codfried:


King Charles II Stuart, alias The Black Boy

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Originally posted by xyyman:
Definitely some interesting articles. But stay away from the gay porn stuff. Keep it clean.

quote:

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Originally posted by Egmond Codfried:


King Charles II Stuart, alias The Black Boy

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The Black Boy's granfather James I, who gave us the King James Bible was kissing men in front of the whole court. Now there is some royal gay porn stuff if not! He loved the blond hunks in tight breeches showing their whole business to the world.
 

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Posted by Egmond Codfried (Member # 15683) on :
 


Anne of Denmark, the grandmother of the Black Boy

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Originally posted by Egmond Codfried:


King Charles II Stuart, alias The Black Boy

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Originally posted by King_Scorpion:
Where does that picture of Anne of Denmark come from? Where did she come from? How did these supposed Black royal families rise to power in 95% white areas? I mean, I know the Moors had a ton of influence on Europe, but by this time that power had already begun waning. There are a ton of questions that need answering and theorizing. That pic of Anne is the darkest I've ever seen of a supposed medieval royal. I'm not totally writing it off (after all, we do have numerous European Coats of Arms with Black faces on them), it's just bizarre.

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Look for Masque of Blackness, a play ordered by Anne of Denmark (1605) in praise of black beaty which does not fade and how Africans came to Europe looking for a milder sun.

The Grimaldi Human arrived 40.000 years ago in Europe from Africa and lived till far into the 19th century as blacks and coloureds. Africans never stopped coming to Europe. By 1500 they had power all over Europe which they lost in 1789 with the French Revolution. Their rule should be compared with Apartheid South Africa and I have defined this as Reversed Apartheid. Blacks on top, not victims.

When the muslim Mores arrived they dealt with Europeans black and white. Black European were depicted as whites to distinguish them from black muslims and heathens who were depicted as black. By 1120 Saint Maurice was shown as a black, classical African. This signaled the black Europeans starting to assert themselves as blacks. They brought the Renaissance, making Europe what it is today.
 

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Posted by Egmond Codfried (Member # 15683) on :
 


Alessandro de Medici, Count of Florence, namen Il Moro

Henriette Maria, Queen of Charles I was the mother of The Black Boy. Her mother was Maria de Medici, Queen of France
 

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Posted by Egmond Codfried (Member # 15683) on :
 
Blackground ethnique de Louis XIV



[see black image of Louis XIV: http://images.google.nl/images?gbv=2&hl=nl&sa=1&q=louis+xiv+egmond+codfried]

« Il y au eu des falsificateurs de l'histoire. Ils ont commis un véritable crime contre l'Humanité. Il y a deux générations entières de spécialistes occidentaux qui ont été coupables de ce crime à l'égard de l'Humanité. »
~ Cheikh Anta Diop à propos des égyptologues européens

Lisez vous-même dans le livre de Lenoir



http://images3.wikia.nocookie.net/desencyclopedie/images/7/72/Lenoir_Mus%C3%A9e.png





[ l’encre: [ inkt] L'encre est une substance fortement teintée, généralement noire, qui sert à marquer le support, papier, textile. Les encres sont utilisées pour l'écriture, le dessin, l'impression ou la décoration.
http://fr.wikipedia.org/wiki/Encre]

Voilà le vrai look de Louis XIV, par Hyacinthe Nigaud

Tous les Blancs sont des menteurs. Je dirais même plus, citant le Savant Professeur J-P Omotunde: le mensonge est l’étoffe même de l’histoire leucodermique. Ainsi, on nous a fait croire que les Grands Personnages de l'Histoire, de la Science, de la Philosophie, étaient tous des Blancs. L'histoire écrite par les Blancs eurocentristes est un effort gigantesque, une conspiration pour occulter et falsifier la Vraie Vérité Véritable: que l'Afrique est le berceau de la Science, de l'Histoire, de la Civilisation.

Votre serviteur, le Savant Pr. P. Brisset vient de faire une découverte décoiffante, qui sera bientôt publiée chez l'éditeur Menaibuc: Louis XIV était noir!. Nous en avons des preuves irréfutables.
Après Cléopâtre, Charlemagne, Socrate, les leukodermes perdent les fleurons de leur "civilisation" pâlissante à l'Afrique triomphante.
Cette découverte rapproche Louis XIV d'autres Grands Rois noirs, comme les Pharaons d'Égypte, qui étaient noirs, comme l'a prouvé le Grand Savant Cheikh Anta Diop.

Voici déjà quelques preuves de cette thèse:

Des témoins oculaires de l'exhumation à Saint-Denis en 1793 témoignent: Quelques-uns de ces corps étaient bien conservés, surtout celui de Louis XIII; mais la peau de celui de Louis XIV était noire comme de l'encre.
Les enfants de Louis XIV étaient Noirs. L'existence d'une fille noire de sang royal, indubitablement la fille de Louis XIV, est mentionnée par des mémorialistes comme La Grande Mademoiselle, Mme de Montespan, Saint-Simon, Voltaire et le cardinal Dubois. Cette Négresse de Moret vivait comme religieuse au couvent de Moret, où la famille royale allait la voir de temps en temps. La Couronne lui versait une pension.

Selon des documents de son temps (p.e. Saint Simon, de Sévigné), le Roi déjeunait le matin, dînait à midi, et soupait le soir, comme font les Belges. Il est bien probable qu'il était donc belge, ou bien il les imitait. Or, nous savons par preuves irréfutables que les Belges à cette époque étaient noirs (voir l'article La Belgique fondée par les Égyptiens : preuves irréfutables du célèbre Savant Pr. P. Brisset).






[Charles II Stuart: The Black Boy]
La famille : le cousin du Roi, Charles II Stuart d'Angleterre (le fils de sa tante Henriette), était noir aussi. On l'appelait "Black Boy" - il existe maints pubs en Angleterre de ce nom. Le Savant Pr. Oguejiofo Annu mentionne dans son article que le nom Stuart est dérivé du mot nordique svart, ce qui veut dire noir.
Le nom Bourbon est d'origine sénégalaise: en Wolof (la langue de Cheikh Anta Diop et de l'Égypte antique), Louis bou bonn signifie Louis le mauvais - le Code Noir l'avait rendu très impopulaire aux colonies. Le nom Capet signifie, en dialecte Lebu flatulent.
L'état américain de Louisiane - 30% de population noire - est appellé d'après Louis XIV justement à cause de son importante densité de Noirs. Sinon, pourquoi?
Les Français honorent toujours leur Roi Noir: une recherche Google trouve plus de 1500 rues, avenues, boulevards Louis Lenoir! Ce serait qui d'autre que Louis XIV, même si ces hypocrites de Blancs en masquent le nom? Vous connaissez un autre Louis digne de 1500 rues? Allez une fois!
Mentionnons aussi les travaux du Célèbre Savant Egmond Codfried, qui a prouvé que l'expression sang bleu veut dire en réalité sang noir.
Les peintures de Louis XIV ont été faussés. Déjà on s'étonne qu'il y existe si peu de portraits de Louis XIV, et cela pour un monarque qui a gouverné 72 ans. Il y a avait donc quelque chose à cacher. Rigaud, Le Brun... tous ces peintres ont été bien payés pour leur mensonges, pour faire semblant que Louis XIV était blanc. Les vrais portraits se trouvent dans les caves du Louvre - secret d'État.
Ces témoignages, preuves irréfutables et d'autres preuves qui restent encore cachés dans les caves et coffres-forts des Blancs, ne peuvent nous mener qu'à une seule conclusion: Louis XIV était Noir. Et peut-être belge.
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[Alexandre Lenoir by Jacques Louis David]


Alexandre Lenoir
From Wikipedia, the free encyclopedia


Alexandre Lenoir by Jacques Louis David (1815-1817), Paris musée du Louvre.Marie Alexandre Lenoir (27 December 1761, Paris - 11 June 1839) was a French archaeologist. Self-taught and devoted to saving France's historic monuments, sculptures and tombs from the ravages of the French Revolution, notably those of Saint-Denis and Sainte-Geneviève.

Alexandre Lenoir

In 1795, Alexandre Lenoir opened the Musée des monuments français to the public and served as its administrator for 30 years, but he had to restore most of its collections to their former private and public owners on the Bourbon Restoration in 1816. What remained would be partly moved to the Louvre in 1824 (in the galerie d'Angoulême under the generic term of musée de la sculpture française) and partly in the musée de Versailles in 1836.

Sources:

http://desencyclopedie.wikia.com/wiki/Louis_XIV
http://en.wikipedia.org/wiki/Alexandre_Lenoir
http://en.wikipedia.org/wiki/Mus%C3%A9e_des_monuments_fran%C3%A7ais
http://books.google.fr/books?id=ElsEAAAAYAAJ&printsec=frontcover#v=onepage&q=encre&f=false
 

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Posted by Egmond Codfried (Member # 15683) on :
 
By the Grace of The Almighty,

I have discovered a theory Blue Blood is Black Blood (1500-1789) which also tells us why there is racism against blacks. We can now deconstruct racism as a conscious and overwrought liberation ideology formulated to free Europe from black domination by a noble, black elite.

The many precious images of Moors in western art symbolise blue blood. White supremacy is based on revisionist, fake, whitened portraits of a black elite. Today I found all this corroborated by a French researcher that Louis XIV, King of France and cousin of The Black Boy, Charles II Stuart, was black as ink! (L’encre)

At last more people are recognizing the truths in my findings, and mention these on their site’s taking care to mention its source. I predict that my discoveries are the future.

http://www.africaresource.com/rasta/sesostris-the-great-the-egyptian-hercules/king-charles-stuart-ii-king-of-england-aka-the-black-boy/
 

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Posted by IronLion (Member # 16412) on :
 
Egmond. Your research is revolutionary. It is the future. Just like Marc Washington, and Clyde Winters.

Friends, the teachings of these wise men should be approached with respect.

They tie in with the teachings of the Moorish Science Temple. Old knowledge rediscovered. Look up Noble Drew Ali and the Moorish Science Temple.

Lion!
 

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Posted by Egmond Codfried (Member # 15683) on :
 

quote:

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Originally posted by IronLion:
Egmond. Your research is revolutionary. It is the future. Just like Marc Washington, and Clyde Winters.

Friends, the teachings of these wise men should be approached with respect.

They tie in with the teachings of the Moorish Science Temple. Old knowledge rediscovered. Look up Noble Drew Ali and the Moorish Science Temple.

Lion!

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African man, anonymous, Spanish noble man at the Habsburg court (Mostaert)

Bless you dear!

In my research The Moors are those Classical African men and women in European art. They are usually not real people and I cannot find any connection with the Islamic, Spanish Moors. It seems as if this lot's presence did not reach Western Europe, nor do I find evidence of conquering Islam outside this area of Europe.

I do find early European universities as the one in Leiden/The Netherlands being found to translate Arabic translations of Greek books. William I of Orange (1533-1584, giving his copies of the Koran to the university at its opening.

My theory is based on a better definition of what is white and what is black and a rejection of 'True Negroes and African Caucasian nonsense.' Rasta Lewiry's site has some good articles on this head. In this way we find blacks in places they told us there were not. And it shows that blacks are not victims or natural slaves or any of that b.s. White supremacy is based on whitened portraits of an elite described as black and coloured.
 

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Posted by Egmond Codfried (Member # 15683) on :
 


Queen Mary of Scots (1542-1587),by Clouet, The great-grandmother of Charles II Stuart, The Black Boy. famous for her beauty. Her grandmother was a sister of Henry VIII Tudor, who was the father of Queen Elizabeth I, who had her niece beheaded. After Elizabeth's demise Mary's only child, James I Stuart became king. He united Scotland and England which then became Great Britain.

quote:

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Originally posted by Egmond Codfried:


King Charles II Stuart, alias The Black Boy

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Posted by Miles Thiam (Member # 17379) on :
 
An old thread but...It's sad to see how a person like Egmond Codfried mocks black people. How can he think us to be stupid enough to believe that a woman dressed up and painted for a PLAY to be an evidence she's black in real life? I'm refering to his idea that the sketch of the black woman from the play is a proof that Anne of Denmark indeed was black.

And to the wood-engraving of Charles II that Codfried's showing. Yes, the king does look coloured, however not at all black as ink as Codfried likes to point out in various sites. But that can't be seen as a proof of his true colour of complexion. Wood-engravings can't give out a person's real colour. That one Codfreid's showing can just be poorly done or may be the artist wanted to mock Charles II:s South European ancestory by making him look darker than he really were.

It's as if people 300 years from now would take Codfrieds whitened pic of Obama and say, hey, this man was white. To heck with the fact there are thousends of pics depicting him as a black man, to heck with the fact you can still see afro american facial traits on his whitened pic. To us now that sounds weird. But that is what Codfried's doing to the king.

Having said this, and that's why I'm bumping this old thread,I want to point out that the idea of the possibility of a black king in Europe is thrilling, and I would want a real researcher to devote himself to this task.
 

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Posted by Recovering Afro-holic (Member # 17311) on :
 
OP, can you please explain this -



Charles II in the robes of the Order of the Garter, c. 1675, as painted by Sir Peter Lely.

Look at the date the portrait was made.
 

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Posted by Egmond Codfried (Member # 15683) on :
 

quote:

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Originally posted by Miles Thiam:
An old thread but...It's sad to see how a person like Egmond Codfried mocks black people. How can he think us to be stupid enough to believe that a woman dressed up and painted for a PLAY to be an evidence she's black in real life? I'm refering to his idea that the sketch of the black woman from the play is a proof that Anne of Denmark indeed was black.

And to the wood-engraving of Charles II that Codfried's showing. Yes, the king does look coloured, however not at all black as ink as Codfried likes to point out in various sites. But that can't be seen as a proof of his true colour of complexion. Wood-engravings can't give out a person's real colour. That one Codfreid's showing can just be poorly done or may be the artist wanted to mock Charles II:s South European ancestory by making him look darker than he really were.

It's as if people 300 years from now would take Codfrieds whitened pic of Obama and say, hey, this man was white. To heck with the fact there are thousends of pics depicting him as a black man, to heck with the fact you can still see afro american facial traits on his whitened pic. To us now that sounds weird. But that is what Codfried's doing to the king.

Having said this, and that's why I'm bumping this old thread,I want to point out that the idea of the possibility of a black king in Europe is thrilling, and I would want a real researcher to devote himself to this task.

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quote:

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Originally posted by Recovering Afro-holic:
OP, can you please explain this -



Charles II in the robes of the Order of the Garter, c. 1675, as painted by Sir Peter Lely.

Look at the date the portrait was made.

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What about the date, dear?
I have found that the name of the painter or the date add's precious little to my reserach. They are a dead end, when I explored them. Of importance is only if the piece fits in the time frame of 1500-1789. The eurocentrist like to describe thing one at the time in extreme detail, yet the fact the person was descibed as black is never mentioned. Like discussing Obama in detail without going into the fact that he is black.
 

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Posted by anguishofbeing (Member # 16736) on :
 
Egmond, you might want to stay away from that whore. She's not clean.
 

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Posted by Egmond Codfried (Member # 15683) on :
 


The black boy as a child.
The latest b.s about faces appearing black is because of a fungus which attacks the copperplates which they use for these engraved portraits. This evil fungus apparently only attacks faces and hands, not the white lace collars and cuffs.
 

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Posted by Egmond Codfried (Member # 15683) on :
 

quote:

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Originally posted by Egmond Codfried:


Anne of Denmark, the grandmother of the Black Boy

quote:

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Originally posted by Egmond Codfried:


King Charles II Stuart, alias The Black Boy

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quote:

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Originally posted by Egmond Codfried:
I have found that the name of the painter or the date add's precious little to my reserach. They are a dead end, when I explored them. Of importance is only if the piece fits in the time frame of 1500-1789. The eurocentrist like to describe thing one at the time in extreme detail, yet the fact the person was descibed as black is never mentioned. Like discussing Obama in detail without going into the fact that he is black.

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Posted by osirion (Member # 7644) on :
 
^ But this thread was a bit entertaining for awhile.


;-)
 

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Posted by Egmond Codfried (Member # 15683) on :
 


Proof that Obama is a white man, because there are these portraits which show him as white!
 

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Posted by Egmond Codfried (Member # 15683) on :
 


Charles II Stuart, The Black Boy, as a child with his future illegitimate daughter by Barbara de Villiers, The Countess of Lichfield. She is whitened, of course.

Here the motive of the Moor as a symbol of blue blood has been wittily used, by utilising a youth image of her father, who would make sure she would have all the benefits her nobility guarantees.
 

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Posted by TruthAndRights (Member # 17346) on :
 
Greetings.

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Black Queen of England
Queen Charlotte and her Contributions to Britain

Princess Sophie Charlotte was born on May 19, 1744--the eighth child of the Prince of Mirow, Germany, Charles Louis Frederick, and his wife, Elisabeth Albertina of Saxe-Hildburghausen. In 1752, when she was eight years old, Sophie Charlotte's father died.

A princess of Mecklenburg-Strelitz, Sophie Charlotte was descended directly from an African branch of the Portuguese Royal House, Margarita de Castro y Sousa. Six different lines can be traced from Princess Sophie Charlotte back to Margarita de Castro y Sousa. This explains her African appearance in her Royal portraits that exist today.

Sophie Charlotte married George III of England on 8 September 1761, at the Chapel Royal in St James’s Palace, London, at the age of 17 years of age becoming the Queen of England and Ireland. Their were conditions in the contract for marriage, ‘The young princess…, join the Anglican church and be married according to Anglican rites, and never ever involve herself in politics’. Although the Queen had an interest in what was happening in the world, especially the war in America, she is seen to have fulfilled her marital agreement.



An indicator of George’s feelings towards his wife may be seen by the fact that, as stated on the Royal website, ‘George III bought Buckingham House in 1761 for his wife Queen Charlotte to use as a comfortable family home close to St James's Palace, …14 of George III's 15 children were born there’.

Having married the King, she became consort to the George III, and they were both devoted to each other. The Royal couple had fifteen children, thirteen of whom survived to adulthood. There fourth eldest son was Edward Augustus, Duke of Kent (2/11/1767- 23/01/1820), who later fathered Queen Victoria.

Her Majesty Queen Charlotte made many contributions to Britain as it is today, though the evidence is not obvious or well publicised. Her African blood line in the British royal family is not common knowledge. Portraits of the Queen had been reduced to fiction of the Black Magi, until two art historians suggested that the definite African features of the paintings derived from actual subjects, not the minds of painters.

In Queen Charlottes era slavery was prevalent and the anti-slavery campaign building up. This may go some way to explaining why Britons are not fully aware of the racial mix of the royal family. Portrait painters of the royal family were expected to play down or soften Queen Charlottes African features.

Painters such as Sir Thomas Lawrence, who painted, Queen Charlotte in the autumn of 1789 had their paintings rejected by the royal couple who were not happy with the representations of the likeness of the Queen. These portraits are amongst those that are available to view now, which could be seen as continuing the political interests of those that disapprove of a multi-racial royal family for Britain.

Sir Allan Ramsey produced the most African representations of the Queen, he was responsible for the majority of the paintings of the Queen. Ramsey’s inclination to paint truer versions of the Queen could be seen to have come from being ‘an anti-slavery intellectual of his day’, Frontline.

The Coronation painting by Ramsey, of the Queen was sent out to the colonies/commonwealth and played a subtle political role in the anti-slavery movement. Johann Zoffany also frequently painted the Royal family in informal family scenes.

Queen Charlotte was a learned character, her letters indicate that she is well read and had interests in the fine arts. The Queen is known to have supported and been taught music by Johann Christian Bach. She was extremely generous to Bach’s wife after Bach’s death. Wolfgang Amadeus Mozart, at aged eight dedicated his Opus 3 piece to the Queen at her request.

Also an amateur botanist, Queen Charlotte helped to establish Kew Gardens bringing amongst others the Strelitzia Reginae, a flowering plant from South Africa.

The Christmas tree was introduced to England by the Queen who had the first one in her house, in 1800. It was said to be decorated with, ‘sweet-meats, almonds and rasins in papers, fruit and toys,’.

The Queen Charlotte Maternity hospital is in London and has been since 1739. Set up as a charitable institution, it is the oldest maternity care institution in England.

Another care venture for the Queen was when George III became ill in 1765 and Queen Charlotte took care of him, noting in one of her letters to her brother that spending time in Weymouth became frequent as bathing in the sea was beneficial to the King.

Queen Charlotte died at Dutch House in Surrey, now Kew Palace, in the presence of her eldest son, the Prince Regent. She is buried at St George’s Chapel, Windsor.

The only private writings that have survived are Queen Charlotte's 444 letters to her closest confidant--her older brother, Charles II (1741-1816), Grand Duke of Mecklenburg-Strelitz. On 23 May 1773 in a letter to her younger brother: ‘I find that the solitary and retiring life which I lead is not made for me. Having admitted this I assure you I shall not ignore my duty’. This shows that the Queen felt she was in a position of privilege yet a task. Her Christian faith was a protection and a method of endurance, as she quotes from the Bible and recognises her role as a royal of God beyond her royal role on earth.

The Christmas tree that Queen Charlotte introduced is still very evident today. A well established custom of over 200 years at Christmas time, are present in nearly every household and public building in Britain, still decorated with lights and shiny objects.

An exhibition took place in 2004, at the Queen’s Gallery, Buckingham Palace displaying Charlotte and George’s collections and tastes in the arts.

Queen Charlotte is the great great great grandmother of the present Queen Elizabeth II who still lives in the expanded Buckingham House, now Buckingham Palace. Kew gardens still flourishes and is always being expanded, also the Queen Charlotte maternity hospital and many other places still carry her name in honour globally such as Charlotte town, Canada and Fort Charlotte, St Vincent, West Indies

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Queen Charlotte Sophia
Consort of George III and Queen Victoria's grandmother

Queen Charlotte, wife of the English King George III (1738-1820), was directly descended from Margarita de Castro y Sousa, a black branch of the Portuguese Royal House. The riddle of Queen Charlotte's African ancestry was solved as a result of an earlier investigation into the black magi featured in 15th century Flemish paintings. Two art historians had suggested that the black magiC must have been portraits of actual contemporary people (since the artist, without seeing them, would not have been aware of the subtleties in colouring and facial bone structure of quadroons or octoroons which these figures invariably represented) Enough evidence was accumulated to propose that the models for the black magi were, in all probability, members of the Portuguese de Sousa family.

Six different lines can be traced from English Queen Charlotte back to Margarita de Castro y Sousa, in a gene pool which because of royal inbreeding was already minuscule, thus explaining the Queen's unmistakable African appearance.

The Negroid characteristics of the Queen's portraits certainly had political significance since artists of that period were expected to play down, soften or even obliterate "undesirable" features in a subject's face. Sir Allan Ramsay was the artist responsible for the majority of the paintings of the Queen and his representations of her were the most decidedly African of all her portraits. Ramsey was an anti-slavery intellectual of his day. He also married the niece of Lord Mansfield, the English judge whose 1772 decision was the first in a series of rulings that finally ended slavery in the British Empire. It should be noted too that by the time Sir Ramsay was commissioned to do his first portrait of the Queen, he was already, by marriage, uncle to Dido Elizabeth Lindsay.

Thus, from just a cursory look at the social awareness and political activism at that level of English society, it would be surprising if the Queen's Negroid physiognomy was of no significance to the Abolitionist movement.

Perhaps the most literary of these allusions to her African appearance, however, can be found in the poem penned to her on the occasion of her wedding to George III and the Coronation celebration that immediately followed.

Descended from the warlike Vandal race, she still preserves that title in her face. Tho' shone their triumphs o'er Numidia's plain, And Alusian fields their name retain; they but subdued the southern world with arms, She conquers still with her triumphant charms, O! born for rule, - to whose victorious brow The greatest monarch of the north must bow!

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Queen Phillipa


England's first black queen, mother of the black prince

Philippa was the daughter of William of Hainault, a lord in part of what is now Belgium. When she was nine the King of England, Edward II, decided that he would marry his son, the future Edward III, to her, and sent one of his bishops, a Bishop Stapeldon, to look at her. He described her thus:

"The lady whom we saw has not uncomely hair, betwixt blue-black and brown. Her head is cleaned shaped; her forehead high and broad, and standing somewhat forward. Her face narrows between the eyes, and the lower part of her face is still more narrow and slender than the forehead. Her eyes are blackish brown and deep. Her nose is fairly smooth and even, save that is somewhat broad at the tip and flattened, yet it is no snub nose. Her nostrils are also broad, her mouth fairly wide. Her lips somewhat full and especially the lower lip…all her limbs are well set and unmaimed, and nought is amiss so far as a man may see. Moreover, she is brown of skin all over, and much like her father, and in all things she is pleasant enough, as it seems to us."

Four years later Prince Edward went to visit his bride-to-be and her family, and fell in live with her. She was betrothed to him and in 1327, when she was only 14, she arrived in England. The next year, when she was 15, they married and were crowned King and Queen in 1330 when she was heavily pregnant with her first child and only 17.

This first child was called Edward, like his father, but is better known as the Black Prince. Many say that he was called this because of the colour of his armour, but there are records that show that he was called 'black' when he was very small. The French called him 'Le Noir'.

Philippa was a remarkable woman. She was very wise and was known and loved by the English for her kindliness and restraint. She would travel with her husband on his campaigns and take her children as well. When the King was abroad she ruled in his absence. Queen's College in Oxford University was founded under her direction by her chaplain, Robert de Eglesfield in 1341 when she was 28. She brought many artists and scholars from Hainault who contributed to English culture.

When she died, Edward never really recovered, and she was much mourned by him and the country. King Edward had a beautiful sculpture made for her tomb which you can see today at Westminster Abbey.

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quote:

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Septimus Severus

York based 3rd century Black Roman emperor

Septimus Severus was born at Leptus Magna in AD 146. He belonged to a class of Romanised Africans and received a good education in his native province.

He first adopted an official career and became a civil magistrate, later he became a military commander, and this took him to Rome. He proved to be an able and popular military leader, and after the murder of Marcus Aurelius' son Commodes, Septimus, supported by the provincial legions, made good his claim to the imperial throne of Rome in AD193. He quickly defeated and killed Rome governor Clodius Albinus in a great battle in Lyon in France, and became emperor of Rome.

He rebuilt and restored Hadrian's Wall and gave Britain a century of peace; throughout his life he never lost his taste for African cooking. When he first entered Britannia, he was welcomed and hailed as the deliverer from the Gauls and Germans who continually pillaged and ravaged the island.

He quickly drove the aliens back across the English Channel, and gave Britannia semi-autonomous home rule status. In 208 AD, he supervised, refurbished, repaired and upgraded the mechanical defence system of Hadrian's Wall. In 211 AD, Septimus Severus died in York, of pneumonia at the age of 64.

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htp
 

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Posted by TruthAndRights (Member # 17346) on :
 
Is anyone else here aware of the African blood in the de Medici family (Italian)?

http://www.pbs.org/wgbh/pages/frontline/shows/secret/famous/medici.html

quote:

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Despite the many portraits of this 16th century Italian Renaissance figure, his African heritage is rarely, if ever, mentioned.[Editor's Note: For more on this omission as it has occurred in the art world, read this January 2005 update.]

Alessandro wielded great power as the first duke of Florence. He was the patron of some of the leading artists of the era and is one of the two Medici princes whose remains are buried in the famous tomb by Michaelangelo. The ethnic make up of this Medici Prince makes him the first black head of state in the modern western world.

Alessandro was born in 1510 to a black serving woman in the Medici household who, after her subsequent marriage to a muleteer, is simply referred to in existing documents as Simonetta da Collavechio. Historians today are convinced that Alessandro was fathered by the seventeen year old Cardinal Giulio de Medici who later became Pope Clement VII. Cardinal Giulio was the nephew of Lorenzo the Magnificent.

On being elected Pope in 1523, Cardinal Giulio was forced to relinquish the lordship of Florence but he appointed a regent for his thirteen year old son Alessandro who had just been created Duke of Penna, and a nephew, Ipollito. Even though both were bastards, they were the last of what has come to be referred to as the elder line of the family.

Republicanism had grown in Florence under the regent and when Emperor Charles V sacked Rome in 1527, the Florentines took advantage of the situation to install a more democratic form of government and both Alessandro and Ipollito fled. When peace was finally made two years later between the Papal and the Imperial factions, Charles V agreed to militarily restore Florence to the Medici. After a siege of eleven months Alessandro was finally brought back as the Emperor's designated head of state.

In 1532, the new Florentine constitution declared Alessandro hereditary Duke and perpetual gonfalonier of the republic. Though his common sense and his feeling for justice won his subjects' affection, those in sympathy with the exiled opposition hated Alessandro and accused him of using his power to sexually exploit the citizenry. However, only two illegitimate children with the possibility of a third, have been attributed to him and even these he fathered with one woman, Taddea Malespina, a distant cousin of his.

With the death of his father, the Pope, in 1534, the exiles attempted to oust the Duke Alessandro from Florence. But the Emperor decided to uphold Alessandro and in an obvious show of support, gave Alessandro his own illegitimate daughter, Margaret of Austria, as wife.

Despite the security this kind of support should have given him, Alessandro was finally assassinated a few months after his wedding by Lorenzaccio de Medici, a distant cousin who had ingratiated himself in order to win his confidence. According to the declaration he later published, Lorenzaccio claimed that he had executed Alessandro for the sake of the republic and that he had been able to disarm him of his personal bodyguards by setting up a sexual liaison for him as a trap. When the anti-Medici faction failed to use this occasion to overthrow the ducal government, Lorenzaccio fled in dismay. He was himself eventually murdered some twelve years later.

Allessandro's Children:

Although the initial reaction to the assassination on the part of the Ducal party had been to set up a regency for Alessandro's four year-old son, Giulio, they instead turned to Cosimo of the cadet branch of the family who as young man of seventeen they felt would be able to bring some equilibrium to the political instability that confronted them.

Since they were his cousins and since Cosimo had to consolidate the authority of the Medici family, Cosimo raised Alessandro's children in his own household and continued as their guardian until adulthood. Despite the awkward presence at his court of a potential pretender to the duchy of Florence, Cosimo apparently regarded his young wards with true affection.

Giulio married Lucrezia Gaetani in 1561 and a year later, Cosimo appointed him First Admiral of the Knights of San Stephano, an order especially founded to fight the Turks.

Giulio's sister, Giulia, was first married to Francesco Cantelmo, the Count of Alvito and the Duke of Popoli. When her husband died unable to give her children a few years later, Cosimo then married Giulia off in 1559 to a first cousin of his, Bernardino de Medici. Apparently Giulia's pride in her Medici ancestry was intense. In the early years of her second marriage, her insistence that she be treated at court as the equal of Cosimo's wife caused a rift between herself and Cosimo. Eventually she and her husband moved to Naples where, at an enormous expense to themselves, they acquired both the title and lands of the principality of Ottaiano. (Click here for more on Giulia and "Giulia's Portrait." Also, read the November 2001 Washington Post article on the race issue controversy over a portrait of Giulia.)

The greater majority of the noble houses of Italy can today trace their ancestry back to Alessandro de Medici. And, as shown in the two lines of descent to the Hapsburgs drawn up below, so can a number of other princely families of Europe:


Giulio de Medici, (Allessandro's son) Knight Commander of the Gallery of St. Stephen m. Lucrezia, Countess Gaetani

Cosimo de Medici (illegitimate) m. Lucrezia (II), Countess Gaetani

Angelica de Medici m. Gianpetro, Count Altemps

Maria Cristina, Countess Altemps m. 1646 Ipollito, Duke Lante della Rovere

Antonio, Duke Lante m. 1682 Angelique, Princesse de La Tremouille

Marie Anne Lante m. Jean Baptiste, Duke of Croy Havre

Louis, Duke of Croy Havre m. 1736 Marie Louise, Princess of Montmorency Luxembourg

Joseph, Duke of Croy Havre m. 1762 Adelaide, Princess of Croy Solre

Adelaide, Duchess of Croy Havre m. 1788 Emanuel, Prince of Croy Solre

Constance, Princess of Croy Solre m. 1810 Ferdinand, Duke of Croy

Augusta, Duchess of Croy m. 1836 Alfred, Prince of Salm Salm

Alfred, Prince of Salm Salm m. 1869 Rosa, Countess Lutzow

Emanuel, Prince of Salm Salm m. 1902 Christina von Hapsburg, Archduchess of Austria

Rosemary, Princess of Salm Salm m. 1926 Hubert Salvator von Hapsburg, Archduke of Austria

ANOTHER EXAMPLE OF ALESSANDRO'S DESCENT:
Joseph, Duke of Croy Havre m. 1762 Adelaide, Princess of Croy Solre

Amalie, Duchess of Croy Havre m. 1790 Charles, Marquis of Conflans

Amalie de Conflans m. 1823 Eugene, Prince of Ligne

Henri, Prince of Ligne m. 1851 Marguerite, Countess of Talleyrand Perigord

Ernest Louis, Prince of Ligne m. 1887 Diane Marchioness of Cosse Brissac

Eugene, Prince of Ligne m. 1917 Phillipine, Princess Noailles

Yolanda, Princess of Ligne m. 1950 Karl von Hapsburg, Archduke of Austria

ANOTHER EXAMPLE OF ALESSANDRO'S DESCENT:

Giulio de Medici, Knight Commander of the Gallery of St. Stephen m. Lucrezia, Countess Gaetani

Cosimo de Medici (illegitimate) m. Lucrezia, Countess Gaetani

Angelica de Medici m. Gianpetro, Count Altemps

Maria Cristina, Countess Altemps m. 1646 Ipollito, Duke Lante della Rovere

Antonio, Duke Lante m. 1682 Angelique, Princesse de La Tremouille

Luigi, Duke Lante m. Angela, Princess Vaini

Fillipo, Duke Lante m. Faustina, Marchioness Caprianca

Maria Christina Lante m. Averado, Duke Salviati

Anna Maria Salviati m. Marcantonio , Prince Borghese

Camillo, Prince Borghese m. 1803 Pauline Bonaparte, Napoleon's Sister

ANOTHER EXAMPLE OF ALESSANDRO'S DESCENT:

Marie Anne Lante m. Jean Baptiste, Duke of Croy Havre

Adelaide, Croy Havre m. Emanuel, Prince of Croy Solre

Constance, Princess of Croy Solre m. 1810 Ferdinand of Croy Solre

Juste Marie, Prince of Croy m. 1854 Marie, Countess Ursel

Charles, Prince of Croy m. 1896 Matilda, Countess Robiano

Marie Imaculee m. 1926 Thiery, count of Limburg Stirum

Evrard, Count of Limburg Stirum m. 1957 Helen, Princess of France daughter of the Count of Paris

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He, as well as other other Black nobility, is also discussed in African Presence in Early Europe by Dr. van Sertima.

htp.
 

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Posted by markellion (Member # 14131) on :
 
Ironicly this quote I keep posting over and over but Robert Norris specifically says it was Charles II that got Brittan active in the African holocaust!

Robert Norris (1791)

http://docsouth.unc.edu/neh/norris/norris.html

quote:

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page 162

Among the adventurers in this trade, the British possess, at present, the greatest share. It was during the government of the commonwealth, that Negroes were carried, in any numbers, to the British West Indies, and then, chiefly to Barbadoes: a few indeed were brought to Virginia, by a Dutch ship, as early as 1620;but it was the Royal African Company, that first carried on, from England, a vigorous commerce to Africa, during the reign of Charles II.

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quote:

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English suppliers responded to the increasing demand for slaves. In 1672, England officially got into the slave trade as the King of England chartered the Royal African Company, encouraging it to expand the British slave trade.

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Posted by Recovering Afro-holic (Member # 17311) on :
 
Egmond, you are a funny dude. Here is a painting from your site of Charles II


 

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Posted by Hammer (Member # 17003) on :
 
They are sick little black puppies.
 

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Posted by Recovering Afro-holic (Member # 17311) on :
 
Egmond, here is the link where you got the portrait and its caption. How did you determine this portrait includes Charles II?

http://www.kipar.org/period-galleries/galleries_1670p.html

Caption: Charlotte later became the Countess of Lichfield. She was the King's daughter by Barbara Palmer. Note her chemise. By Sir Peter Lely.
 

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Posted by dana marniche (Member # 13149) on :
 

quote:

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Originally posted by Egmond Codfried:


Charles II Stuart, The Black Boy, as a child with his future illegitimate daughter by Barbara de Villiers, The Countess of Lichfield. She is whitened, of course.

Here the motive of the Moor as a symbol of blue blood has been wittily used, by utilising a youth image of her father, who would make sure she would have all the benefits her nobility guarantees.

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quote:

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Originally posted by dana marniche:
Egmond - what is the name of this painting so that everyone can see that it is Charles II being represented if that is indeed the case.

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quote:

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I'm having a little trouble understanding why you are saying the girl is the daughter of the boy?

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quote:

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Originally posted by Egmond Codfried:


Proof that Obama is a white man, because there are these portraits which show him as white!

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Arnold Schwartzenegger?
 

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Posted by dana marniche (Member # 13149) on :
 

quote:

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Originally posted by Egmond Codfried:


Queen Mary of Scots (1542-1587),by Clouet, The great-grandmother of Charles II Stuart, The Black Boy. famous for her beauty. Her grandmother was a sister of Henry VIII Tudor, who was the father of Queen Elizabeth I, who had her niece beheaded. After Elizabeth's demise Mary's only child, James I Stuart became king. He united Scotland and England which then became Great Britain.

quote:

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Originally posted by Egmond Codfried:


King Charles II Stuart, alias The Black Boy

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quote:

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Originally posted by osirion:
^ But we need people like Afronuts that challenge our conventional understanding and bring to light historical events that are often covered up. Yes, Afronuts go too far but it is better than them not going far enough!

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quote:

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Originally posted by TruthAndRights:
http://www.100greatblackbritons.com/bios/queen_phillipa.html

quote:

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Queen Phillipa


England's first black queen, mother of the black prince

Philippa was the daughter of William of Hainault,... Her nose is fairly smooth and even, save that is somewhat broad at the tip and flattened, yet it is no snub nose. Her nostrils are also broad, her mouth fairly wide. Her lips somewhat full and especially the lower lip…all her limbs are well set and unmaimed, and nought is amiss so far as a man may see. Moreover, she is brown of skin all over, and much like her father, and in all things she is pleasant enough, as it seems to us."


This first child was called Edward, like his father, but is better known as the Black Prince. Many say that he was called this because of the colour of his armour, but there are records that show that he was called 'black' when he was very small. The French called him 'Le Noir'.

...

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I have mentioned Septimus Severus on one of these threads before:

http://www.100greatblackbritons.com/bios/septimus_severus.html

quote:

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Septimus Severus

York based 3rd century Black Roman emperor

Septimus Severus was born at Leptus Magna in AD 146. He belonged to a class of Romanised Africans and received a good education in his native province.

He first adopted an official career and became a civil magistrate, later he became a military commander, and this took him to Rome. He proved to be an able and popular military leader, and after the murder of Marcus Aurelius' son Commodes, Septimus, supported by the provincial legions, made good his claim to the imperial throne of Rome in AD193. He quickly defeated and killed Rome governor Clodius Albinus in a great battle in Lyon in France, and became emperor of Rome...

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htp

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It is probable that some European royalty had black blood, but what in Severus history says that he was of indigenous African descent. He sure doesn't look any more African than all the other Romans. There were other European people in ancient North Africa besides the Romans as well especially in the area of Cyrene.
 

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Posted by markellion (Member # 14131) on :
 
Charles II as an infant



Child

 

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Posted by dana marniche (Member # 13149) on :
 

quote:

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Originally posted by Egmond Codfried:

quote:

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Originally posted by Egmond Codfried:


Anne of Denmark, the grandmother of the Black Boy.

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Though her hair is usually portrayed a bit more kinky than is normal among Europeans, if this is Ann of Denmark than why did other painters like John Critz portray her white and say she had "extremely fair skin". At least that's what Wikipedia says. But then again it is Wikipedia. Something doesn't make sense. Someone who knows Danish needs to see the original translation of the Danish I guess, 'cause something is wrong.

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Posted by Recovering Afro-holic (Member # 17311) on :
 
This is the typical pseudo scholarship game Afrocentrists like to play. Septimius was a N. African, born in Libya. Is Momar kadhaffi African BLACK? I highly doubt it.

Here is a bust of Septimius:



Does he look African Black to you?

quote:

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Originally posted by dana marniche:
It is probable that some European royalty had black blood, but what in Severus history says that he was of indigenous African descent. He sure doesn't look any more African than all the other Romans. There were other European people in ancient North Africa besides the Romans as well especially in the area of Cyrene. [/QB]

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quote:

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Originally posted by IronLion:
Egmond

Do u have any information on Prince Edward the black prince and King James II the brother of Charles II?

Lion

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quote:

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The Royal African Company was a slaving company set up by the Stuart family and London merchants once the former retook the English throne in the English Restoration of 1660. It was led by James, Duke of York, Charles II's brother....

In the 1680s it (Royal African Company) was transporting about 5,000 slaves per year. Many were branded with the letters 'DY', after its chief, the Duke of York, who succeeded his brother on the throne in 1685, becoming James II. Other slaves were branded with the company's initials, RAC, on their chests.

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quote:

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page 162

Among the adventurers in this trade, the British possess, at present, the greatest share. It was during the government of the commonwealth, that Negroes were carried, in any numbers, to the British West Indies, and then, chiefly to Barbadoes: a few indeed were brought to Virginia, by a Dutch ship, as early as 1620;but it was the Royal African Company, that first carried on, from England, a vigorous commerce to Africa, during the reign of Charles II.

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quote:

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English suppliers responded to the increasing demand for slaves. In 1672, England officially got into the slave trade as the King of England chartered the Royal African Company, encouraging it to expand the British slave trade.

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quote:

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Originally posted by Recovering Afro-holic:
This is the typical pseudo scholarship game Afrocentrists like to play. Septimius was a N. African, born in Libya. Is Momar kadhaffi African BLACK? I highly doubt it.

Here is a bust of Septimius:

[IMG]http://upload.wikimedia.org/wikipedia/commons/1/13/Septimius_Severus_busto-Musei_Capitolini.jpg[IMG]

Does he look African Black to you?

quote:

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Originally posted by dana marniche:
It is probable that some European royalty had black blood, but what in Severus history says that he was of indigenous African descent. He sure doesn't look any more African than all the other Romans. There were other European people in ancient North Africa besides the Romans as well especially in the area of Cyrene.

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[/QB]

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I don't know who you are talking to but I have already seen many early portrayals of Septimius and no he doesn't look African as I said above. Being North african however doesn't mean much as one could have been anything from white Scythian to black or "Mauri" in ancient Libya, especially in that region.

Furthermore there are plenty of Roman busts that have been taken wrongly to be ancient Mauri and Carthaginians.

I asked a question which has not been answered yet. Nevertheless, at this present time i am taking it that he was one of the many European peoples that were said to be living in North Africa at that time.
 

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Posted by markellion (Member # 14131) on :
 

 

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Posted by Egmond Codfried (Member # 15683) on :
 












Obama is white, with no damn trace of any blackness, just like all these American crackers and that djehutitrash who soil my thread here!
If you are so sure that Charles II Stuart was white, why do you pursue me all the way in Egypt land. Do you think you can stop me from spreading my theories to all the four corners of the world. What kind of fucking nutcase are you? Jeez!
 

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Posted by Recovering Afro-holic (Member # 17311) on :
 
So that is what it has all boils down to - Egmond has created his alternate reality, filled with its own made up facts and he resents anyone disturbing it. Well Egmond, if you want to create your own reality to cope with whatever inadequacies that you are unable to deal with then that is fine. But you are pushing your fantasy on to unsuspecting people. You have taken your imaginary world outside your mind and into society. That right there is a problem. Many delusional people like you have been institutionalized for this kind of behavior. Be-careful buddy.
 

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Posted by Egmond Codfried (Member # 15683) on :
 

quote:

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Originally posted by markellion:

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quote:

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Charles' appearance was anything but English, with his sensuous curling mouth, dark complexion, black hair and dark brown 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 parliamentary wanted posters. One of the nick-names he acquired was the black boy His height, at six feet two inches, probably inherited from his Danish paternal grandmother, Anne of Denmark, also set him apart from his contemporaries in a time when the average Englishman was far smaller than today.

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quote:

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Originally posted by Egmond Codfried:
Charles' appearance was anything but English, with his sensuous curling mouth, dark complexion, black hair and dark brown 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 parliamentary wanted posters. One of the nick-names he acquired was the black boy His height, at six feet two inches, probably inherited from his Danish paternal grandmother, Anne of Denmark, also set him apart from his contemporaries in a time when the average Englishman was far smaller than today.

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quote:

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Originally posted by Recovering Afro-holic:
You have some serious delusional or reading comprehension issues if you think the quote even remotely describes an African Black.

quote:

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Originally posted by Egmond Codfried:
Charles' appearance was anything but English, with his sensuous curling mouth, dark complexion, black hair and dark brown 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 parliamentary wanted posters. One of the nick-names he acquired was the black boy His height, at six feet two inches, probably inherited from his Danish paternal grandmother, Anne of Denmark, also set him apart from his contemporaries in a time when the average Englishman was far smaller than today.

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quote:

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Originally posted by dana marniche:
I think his point is that royalty had black blood in them which is probably true judging from the genealogy, and Europeans have tried to downplay it.

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quote:

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Originally posted by Recovering Afro-holic:
This is the typical pseudo scholarship game Afrocentrists like to play. Septimius was a N. African, born in Libya. Is Momar kadhaffi African BLACK? I highly doubt it.

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[/QB][/QUOTE]

Froholic

Moamar Ghadaffi is blacker
than you will ever be ...

He is a true African hero
in a continent interwoven
by blood and love

But you can believe what you can
until you make the effort to go
visit Africa in person.
 

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Posted by Egmond Codfried (Member # 15683) on :
 
http://www.wissen.de/wde/generator/substanzen/bilder/sigmalink/a/an/ann_/anna_boleyn_1817011,property=zoom.jpg



[Two portraits of Anna Boleyn: one dark, one whitened]

http://www.earlywomenmasters.net/cds/elizabeth/images/elizabeth_levina_teerling.jpg

[Anna Boleyn’s daughter , Queen Elizabeth I, described as 'dark', so this portrat is whitened. She is famous for painting het face white]

ANNA BOLEYN’S APPEARANCE

quote:

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The Venetian diarist Marino Sanuto, who saw Anne during the meeting between Henry VIII and Francis I of France at Calais in October 1532, described her as "not one of the handsomest women in the world; she is of middling stature, swarthy complexion, long neck, wide mouth, bosom not much raised ... eyes, which are black and beautiful".[26] Simon Grynée wrote to Martin Bucer in September 1531 that Anne was "young, good-looking, of a rather dark complexion". Lancelot de Carles called her "beautiful with an elegant figure", and a Venetian in Paris in 1528 also reported that she was said to be beautiful.[27] Other descriptions of her were less neutral. An observer at her coronation wrote that "the crown became her very ill, and a wart disfigured her very much. She wore a violet velvet mantle, with a high ruff of gold thread and pearls, which concealed a swelling she has, resembling a goitre".[26] The most influential description of Anne, but also the least reliable, was written by the historian and polemicist Nicholas Sanders as late as 1586: "Anne Boleyn was rather tall of stature, with black hair, and an oval face of a sallow complexion, as if troubled with jaundice. She had a projecting tooth under the upper lip, and on her right hand six fingers. There was a large wen under her chin, and therefore to hide its ugliness she wore a high dress covering her throat ... She was handsome to look at, with a pretty mouth".[28] Sanders' description contributed to what biographer Eric Ives calls the "monster legend" of Anne Boleyn.[29]

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quote:

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In 1532, a new Venetian ambassador described Anne thusly:
'not one of the handsomest women in the world. She is of middling stature, with a swarthy complexion, long neck, wide mouth, bosom not much raised, and in fact has nothing but the King's great appetite, and her eyes, which are black and beautiful - and take great effect on those who served the Queen when she was on the throne. She lives like a queen, and the King accompanies her to Mass - and everywhere.'

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quote:

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Anne Boleyn's Appearance

The only firmly identified, contemporary image of Anne Boleyn - a 1534 medal.
© British Museum.
Scanned by Douglas Dowell.
Anne Boleyn's appearance has been twisted by those who wished to denounce her. Contemporary accounts were distorted by the author's (usual) dislike of her. After her death, a monstrous legend was built up. Nicholas Sander's description provides the supreme calumny. The Venetian ambassador provided a more impartial report - but still not all that flattering. So, what is universally agreed upon?

Anne Boleyn was very dark. All writers agree on this point. Wyatt says she was "not so whitely as . . . above all we may esteem." Sander said she had a "sallow complexion, as if troubled with jaundice", and the Venetian ambassador said she had a "swarthy complexion". Dark brown or black hair, along with eyes so dark they were almost black and a very dark skin, combined to make Anne Boleyn conspicuously dark - and the opposite of the contemporary ideal, with golden hair, blue eyes and a pink-and-white complexion. Anne had small breasts, when a voluptuous figure was the ideal. The Venetian ambassador said she was of "middling stature" and Sander said she was "rather tall in stature". One of her favourite chaplains felt that Bessie Blount was more beautiful, although Anne was quite pretty. Much of this lukewarm praise would have been due to the fact that she was the opposite of the aforesaid contemporary ideal.

In all honesty, the following description of Anne Boleyn is ridiculous; the culmination of a legend built up by Roman Catholics who blamed her for the break with Rome. Therefore, it owes much to the deeply ingrained idea that evil people had hideous exteriors, very much like Richard III's alleged hunchback. However, it goes a long way to illuminate the degree to which Anne was slandered long after her death.

Anne Boleyn was rather tall of stature, with black hair and an oval face of sallow complexion, as if troubled with jaundice. She had a projecting tooth under the upper lip, and on her right hand, six fingers. There was a large wen under her chin, and therefore to hide its ugliness, she wore a high dress covering her throat. In this she was followed by the ladies of the court, who also wore high dresses, having before been in the habit of leaving their necks and the upper portion of their persons uncovered. She was handsome to look at, with a pretty mouth.1

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Lise Nangala says No, you have to show better proof than this.

Images made in woodcuts – which Mr. Codfried refers to – often make people look darker than they really were. They only used two colours printing and tried to add definition to the faces by shading them. Add the poor quality printing in those days and you get darker faces.[...] Lise Nangala says To the description of Charles II as a tall black man. As a black woman living in a North European country (and married to a white man) I know that if white Europeans talk about a “black man” they mean someone with white skin and black hair. If they mean a man with black skin they still use the now forbidden words negro or nigger.

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quote:

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Originally posted by Egmond Codfried:












Obama is white, with no damn trace of any blackness, just like all these American crackers and that djehutitrash who soil my thread here!
If you are so sure that Charles II Stuart was white, why do you pursue me all the way in Egypt land. Do you think you can stop me from spreading my theories to all the four corners of the world. What kind of fucking nutcase are you? Jeez!

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DEFINITE AND IRREFUTABLE PROOF
THAT OBAMA IS A WHITE MAN.
PICTURES DO NOT LIE.
 

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Posted by Egmond Codfried (Member # 15683) on :
 


DEFINITE AND IRREFUTABLE PROOF THAT DIANA ROSS IS A WHITE WOMAN.
PICTURES DO NOT LIE.
 

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Posted by Egmond Codfried (Member # 15683) on :
 


DEFINITE AND IRREFUTABLE PROOF THAT WHITNEY HOUSTON IS A WHITE WOMAN.
PICTURES DO NOT LIE.
 

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Posted by Egmond Codfried (Member # 15683) on :
 


DEFINITE AND IRREFUTABLE PROOF THAT MARY J. BLIGE IS A WHITE WOMAN.
PICTURES DO NOT LIE.
 

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Posted by Egmond Codfried (Member # 15683) on :
 
peut-être ça changera
dans la tête des gens
la mentalité de celui qui
écoute mais qui n’entend pas
avant que le silence descende
sur chaque chose, ce grand
silence après l’air explosé

(Eros Ramazzotti)
 

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Posted by Recovering Afro-holic (Member # 17311) on :
 
The mentality of the youth will never change and they will never listen to the ramblings and ravings of a lunatic, who thinks the mere mention of "Dark" must mean an African Negro. If pseudo scholarship is some explosion of knowledge, then God help me, bring on the silence! cause we don't need to hear that sh1t!

quote:

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Originally posted by Egmond Codfried:
peut-être ça changera
dans la tête des gens
la mentalité de celui qui
écoute mais qui n’entend pas
avant que le silence descende
sur chaque chose, ce grand
silence après l’air explosé

(Eros Ramazzotti)

---

 

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Posted by Egmond Codfried (Member # 15683) on :
 


Maria Henrietta Stuart, whitened, the sister of Charles II Stuart, The Black boy, with a Moor who offers her pearls. The Moor is not a person, but a symbol of blue blood. The pearls seem to symbolise Europe. Her blue blood offers her riches and power to rule.




Louise de Kerouaille, whitened, one of the six official mistresses of Charles II Stuart. A French noble, she was also known as the kings catholic whore.

Important for this research is the little Mooress at her lap who offers her pearls and coral. It's not a servant or a slave or a pet, nor is it a real person. The Mooress symbolises Kerouaille's blue blood. Because these Moors are African, and they symbolise the high nobility’s identity, I have to assume that they considered their blackness as African.
How does Egmond Codfried know these things?
Because he studied the goddam thing for three years already.
 

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Posted by Recovering Afro-holic (Member # 17311) on :
 
WOW! This is really quite disturbing. I think you are an embarassment to Afrocentrists. I don't even think they want to touch you w/a ten ft. pole. You post portraits of Europeans and their Negro slaves/servants yet you think it is proving your argument (LOL).
 

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Posted by Egmond Codfried (Member # 15683) on :
 


[Moorrees family arms]

Why would a noble family use six Moors in its crest? Why would they liked to be known and identified by their slaves?

These Moors are symbolic ancestors of this high noble family who's very name points to Moors. This crest shows their high nobility.



Alessandro de Medici, although born from a servant he rose to be a duke and a ruler of Florence. He ws nicknamed The Moor and his image was carried in gold as a proof of blue blood. The Moor could sometimes be a real family member.



The Drake Jewel.

The Moor in profile, over the profile of a white woman. This symbol I have defined as the black superiority symbol of black over white. Africa over white Europe.

Inside is Elizabeth I who was described as 'dark,' and her mother Anna Boleyn as 'very dark, with black eyes and dark hair.'

i cannot see how anyone will still assume that this Moor is a servant or a slave.
 

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Posted by TruthAndRights (Member # 17346) on :
 
Greetings.

http://www.pbs.org/wgbh/pages/frontline/shows/secret/famous/emblem.html

http://www.pbs.org/wgbh/pages/frontline/shows/secret/famous/giuliademedici.html

The Pushkin Genealogy:

http://www.pbs.org/wgbh/pages/frontline/shows/secret/famous/pushkingenealogy.html

htp
 

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Posted by TruthAndRights (Member # 17346) on :
 
I don't have time to copy and paste the whole thing (including the pictures that many of you will find to be very interesting!):

SIGILLUM SECRETUM (Secret Seal)
On the image of the Blackamoor in European Heraldry: http://www.pbs.org/wgbh/pages/frontline/shows/secret/famous/ssecretum1.html

SIGILLUM SECRETUM Part II Divine Darkness:
http://www.pbs.org/wgbh/pages/frontline/shows/secret/famous/ssecretum2.html

SIGILLUM SECRETUM Part III Sable:
http://www.pbs.org/wgbh/pages/frontline/shows/secret/famous/ssecretum3.html



htp
 

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Posted by TruthAndRights (Member # 17346) on :
 
Now I have the time:

http://www.pbs.org/wgbh/pages/frontline/shows/secret/famous/ssecretum1.html

SIGILLUM SECRETUM (Secret Seal)
On the image of the Blackamoor in European Heraldry
(a preliminary proposal for an iconographical study)by Mario de Valdes y Cocom

Considering the deep roots of Christianity in the cultural experience of the African American community, it is only natural that even in the most cursory of discussions on Black history, the hope always is raised of discovering Christ as a man of colour. Moreover, in this global village of television and transatlantic travel, the standard Euro-centric portrayal of Christ is both anomalous and anachronistic, particularly in these racially sensitized times.

It might therefore prove a great source of spiritual strength and psychological affirmation for those of us of African descent if a relatively unknown and forgotten medieval European tradition regarding the image of the black was reconstructed for all to see and share.

What I am referring to are the coat of arms of the blackamoor which proliferated in both the private and civic European escutcheons (coat of arms) throughout the 13th, 14th and 15th centuries.


Due likely to the tradition attached to Sardinia's arms, these insignia have been all too facilely explained as the grizzly prize of some crusader conquest. The four African heads each displayed in one of the four quarters created by the cross on the shield are referred to by an early motto associated with this island's crest as 'trophea.' The traditional explanation is they represent the four Moorish emirs who were defeated by a king of Aragon sometime in the 11th century. (The possibility of a more probable approach to these insignia will be raised further on.) Such an interpretation would, of course, be more than welcome today, especially in the face of establishment attempts to portray as white the Islamic power that was able to withstand three successive waves of European invasions.

And, a common corollary to this negative view was the African figure became a symbol of evil, universal or personal, that had to be subjugated or vanquished. Given the economic/political positions of those with the right to bear arms, the hold that heraldry has had on the imagination of the West has been a very powerful one and this particular perception of the blackamoor as a symbol of the negative has undoubtedly played an enormous part in the propagation of racism.

The Imagery of St. Maurice

Modern specialists in the science of heraldry suspect, however, that this blazon (coat of arms) of the blackamoor is instead the very opposite of a negative symbol. In the last decade or two it has been pointed out that the moor's head quite possibly could have referred to St. Maurice, the black patron saint of the Holy Roman Empire from the beginning of the 10th century.

Because of his name and native land, St. Maurice had been portrayed as black ever since the 12th century. The insignia of the black head, in a great many instances, was probably meant to represent this soldier saint since a majority of the arms awarded were knightly or military. With 6,666 of his African compatriots, St. Maurice had chosen martyrdom rather than deny his allegiance to his Lord and Saviour, thereby creating for the Christian world an image of the Church Militant that was as impressive numerically as it was colourwise.


Here, no doubt, is a major reason why St. Maurice would become the champion of the old Roman church and an opposition symbol to the growing influence of Luther and Calvin. The fact that he was of the same race as the Ethiopian baptized by St. Philip in Acts of the Apostles was undoubtedly an important element to his significance as well. Since this figure from the New Testament was read as a personification of the Gentile world in its entirety, the complexion of St. Maurice and his Theban Legion (the number of which signified an infinite contingent) was also understood as a representation of the Church's universality - a dogmatic ideal no longer tolerated by the Reformation's nationalism. Furthermore, it cannot be coincidental that the most powerful of the German princes to remain within the Catholic fold, the archbishop Albrecht von Brandenburg, not only dedicated practically all the major institutions under his jurisdiction to St. Maurice but in what is today one of the most important paintings of the Renaissance, had himself portrayed in Sacred Conversation with him. Even more blatant was the action taken by Emanual Philibert, Duke of Savoy. In 1572 he organized the order of St. Maurice. The papal promulgation published at its institution declared quite unequivocally that the sole purpose for this knighthood was to combat of the Reformation. The order still exist exists although it has now combined with the Order of St. Lazarus. The white trefoiled cross of the combined order belongs to the former.

The particular symbol of St. Maurice's blackness that must have most antagonized the Protestant faction, however, was the one regarding the mystery of Papal authority. Scholars have been able to show, for example, that in the theological debates of this period, even the abstract adjectives, black and white, were defiantly acknowledged by apologists of both stripes to represent the Church and the Reformers respectively.

Prester John

In addition to St. Maurice, there is also another figure connected to the blackamoor coat of arms. It is the semi-mythical Negus (emperor) of Ethiopia, Prester John. To Otto von Freising an Imperial Hohenstauffen Prince Bishop of the 12th century who was tired and torn by the endless struggle between Church and State, this black man who was both priest and king and ruled a land of peace and plenty at the edge of the world became the personification of the ideal state. To this day the arms of the see of Freising is the bust of a crowned blackamoor.

Because of their ethnic and geographic origins, it is likely that St. Maurice and his Theban Legion became associated with Prester John as the ideal soldiers for the ideal state. It should be pointed out, furthermore, that, heraldically, since he was the only monarch who could claim the 'Sang Real' or the 'Royal Blood' of Christ because of his descent from Solomon, Prester John was the only individual deemed worthy of the right to bear as arms the image of the Crucifix. Even the earring traditionally worn by the blackamoor is a reference to this sacred privilege.



The Golden Ring in the Blackamoor's Ear

To understand how these two objects are related to each other--the earring and the image of the Crucifix--we must refer back to the Old Testament. In the Book of Leviticus can be found an ordinance describing the ritual ear piercing of any slave who chooses to continue in his master's service after being granted his freedom. Since one of the most important of all Ethiopian royal titles was "Slave of the Cross," the golden ring in the blackamoor's ear was probably meant to be interpreted as a deeply devotional and--considering the belief in the Bible as the Word of God--a highly rhetorical symbol.

Ethiopia and the Holy Grail

Due also to the age-old belief that the Ark of the Covenant had been hidden in Ethiopia, the great epics of the Arthurian cycle transformed the Ethiopian emperor into the founder of the Grail dynasty and the ancestor, nine generations later, of the only knight of the Round Table who would achieve the Quest, Sir Galahad. It would appear that the long-standing confusion over whether the Holy Grail was a cup or a stone was a deliberate one. Considering the opportunity afforded by these Ethiopian traditions, medieval writers were able to theologically fuse together the symbols of both the Old and the New Testament: the Tablet of the Law and the Chalice.
 

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Posted by TruthAndRights (Member # 17346) on :
 
http://www.pbs.org/wgbh/pages/frontline/shows/secret/famous/ssecretum2.html

SIGILLUM SECRETUM Part II Divine Darkness



In the middle of the 14th century, one of the most profound examples of the symbol of the blackamoor can be seen in the use of this image to represent Christ. It is clear from the documentation we have for the city of Lauingen in Germany, for example, that at about this time, the city's seal with the head of Christ wearing a crown of thorns is transformed to the head of a blackamoor wearing a golden crown. That the latter insignia is meant to represent the former is quite obvious from the accompanying inscriptions. One of the earlier ones read: "Sigillum civium de Lougingin" (seal of the city of Lauingen), while a later version clearly explains itself as the "Sigillum secretum civitatis palatinae Lavgingen (secret seal of the palatinate city of Lauingen)."

A German heraldic scholar writing before World War II offered two other reasons for a similar coats of arms. He pointed out that Ethiop (sun burnt) the black was a sun sign and therefore a symbol of divinity that could alternately be used for the Son of God or the Son of Man. He also pointed out that from what we know of the cult of the Black Madonna, the blazon of the blackamoor queen was a reference to Mary, the Queen of Heaven or her prefiguration as the Queen of Sheba and that the male versions of these insignia were therefore references to her Son.

The discovery of this particular seal was especially surprising to me since I had taken for granted that it was either another reference to Prester John or, even more likely, to Balthazar, the black Wise man of the Epiphany who has, iconographically, almost always been treated as a king. Because his gift of myrrh prophesied not only Our Lord's death but, most importantly, His Resurrection and the proof, therefore, of His divinity, the awe Balthazar's blackness inspired must have had a powerful impression on the science of heraldry. A coat of Arms that is apparently derived from the same theological source as that of the city of Lavingen belongs to the Cruse or Cross family of France. Since cockle shells are so liturgically associated with the sacrement of baptism, their number here probably signifies the three nails of the Crucifixion while the women, in all likelyhood, are representations of Mary and the Queen of Sheba.



The Arms of King Balthazar

No more graphic a demonstration of the African figure as a symbol of the sun is to be found than in the arms ascribed to King Balthazar. Initially this had posed a problem for me since the ethnic background of this Wise Man, to my mind, was simply not enough of a reason for this heraldic device. It was not until coming upon an early text describing his coat of arms as that of the sun that I at last realized what the blackamoor on Balthazar's livery signified. Since King Melchior bore a field of stars and King Kaspar, the moon, it is fairly obvious that as an allusion, no doubt, to the celestial phenomenon which had guided them to Bethlehem, the original arms of the Magi had been the sun, the moon and the stars. I do not think it would be unreasonable to suppose that for whatever theological line of reasoning, the heraldic insignia of both Balthazar and the city of Lauingen had been changed at the same point in history.



Blackness as an Allusion to God



Perhaps even more remarkable, especially from our perspective today, is evidence which would suggest that in the language of heraldry, the blackamoor could be an allusion to God Himself. The most obvious of these examples are to be found in the arms of the city of Coburg, the Kob family of Nuremberg and the Pucci of Florence. Since these three names are derived from that of Jacob (Coburg=Jacoburg, Kob=Jakob, Pucci=Jacopucci), the clue is to be found in the Book of Genesis. Very much along the lines of the old Hebrew injunction against uttering the Holy Name, it was the second century theologian, Dionysius the Aereopagite, who first alluded to God as, "The Divine Darkness".

In the passage relating the changing of his name to that of Israel, Jacob discovers that the dark spirit he has wrestled with all night long is none other than God in the impenetrable image of His infinite Self. The fact that the name, James, is nothing other than a variant of Jacob, might well provide us with the significance for the arms of Sardinia I described earlier since it is to the Aragonese king, James 1, that their use can first be traced.

Blackness as Wisdom

One of the most dramatic and, certainly, most graphic uses of blackness as wisdom can be seen in the portrayal of the Good Thief from a number of 15th century Flemish masterpieces depicting the Crucifixion. For the ability to recognize his Saviour's spiritual supremacy beneath the harsh reality of the Cross, St. Dismas is not only painted as an African, he is painted blindfolded as well. The blindfold on certain blackamoor coat of arms, therefore, is not a mistakenly placed headband or torse, the standard headpiece of this specific symbol when a crown is not called for. This blazon is, instead, an exhortation or, more precisely, a divine demand that we not only respond to the weakest and most helpless of our neighbours as we would Our Lord but, like St. Dismas, that we do so even while in the death throes of our own personal crucifixions. Interestingly enough, a number of early theologians writing on this subject, have attributed to the Black Wise Man's colour the same kind of reasoning from which St. Dismas would derive his doubly dark imagery; his ability to recognize the Messiah in a lowly manger.

The social gospel so strikingly symbolized by this example of the blackamoor blazon is also, interestingly enough, quite implicit in even its most negative use-- that of the vanquished infidel. From what is known regarding the popularity of the Charlemagnian epics during the latter middle ages, we can assume that this image was, in all probability, associated with Marsile, the black heathen king who, as the enemy of all Christendom, was Charlemagne's paramount opponent. Offered baptism at his defeat, Marsile had instead chosen death rather than accept a faith whose adherents he scornfully mocked and condemned for their immoral and reprehensible treatment of the poor. An image that was so scathing a reminder of a community's responsibility to its less fortunate could, therefore, have only been perceived as a positive one.



The relationship of the black image to the concept of justice was nowhere more politically utilized than with the Holy Roman emperors of the Hohenstauffern dynasty. Indeed, it would appear that the sable blazon of the imperial eagle and that of the moor's head were meant to be perceived as synonymous. The simple headbands worn by both are, as a matter of fact, identical and, interestingly enough, nothing less, despite the simplicity of the design, than the imperial diadem' of ancient Rome. Also interesting is the fantastic coat of arms attributed to Ethiopia by the heralds of the middle ages. For like the bicephalic bird of the Holy Roman Empire, Ethiopia bore a 'v' shaped emblem with a blackamoor's head 'torsed' at the end of each arm.

This parallelism between both sets of heads can, of course, be explained by the "rex / sacerdos" argument which occupied the very centre of the political stage during this particular period of history. To both the Pope who preached the imperial nature of his sanctified position and the emperor, Frederick II, who believed in the priestliness of his own power, the figure of the African priest king, Prester John, became an almost magical icon politically. If we can interpret the double-headed eagle represented the claims of both the church and the state, it would be quite logical to surmise that the reason why Ethiopia's arms were conceived as double-headed is due to the belief already mentioned that the Negus (emperor) exercised the prerogatives of both priest and king.

As Joseph Campbell has pointed out, it was to this African figure that European literature first attributed the very concept of popular justice. Indeed, while the Church showed off his famous letter of introduction and circulated copies of it to the Christian world, rumors in Frederick's own lifetime made him an intimate friend of this semi-mythical king. According to popular belief, for instance, Prester John had presented him with armor made of asbestos, the elixir of youth, a ring of invisibility and, most precious of all, the philosopher's stone.

Because they are described in the 'Tristam und Isult' cycles, the arms of Sir Pallamedes, the Moorish prince who becomes a knight of the Round Table, have received a certain amount of scholarly attention. Chequered in black and white, this highly contrasting design would appear to be nothing more than perhaps the most abstract icon of those dualities already pointed to, such as God and Jacob (Jacquelado is the word for checkered in Spanish), or Church and State. Instead of his coat armour, it is the body of Sir Fierfitz Angevin, the black knight from Eschenbach's 'Parzival' that is patterned in a piebald motif. The fact that the poet likens Fierfitz's skin to a parchment with writing is what expands this symbol to its most encompassing parameters.

To the Greeks, Pallamedes, the mythological figure from whom Sir Tristam's Moorish companion derives his name, was commemorated as the inventor of writing, counting, weighing and measuring and the games of the chessboard. Since his name translates as 'Ancient Wisdom', it has been suggested that all dualistic tensions were intended to be nuanced; from the most simple 'yes or no', 'O or I' to the most sophisticated of Parmenedes' models regarding 'The I and the Thou' or 'The One and the Many'. Obviously playing with the same kind of bifurcated symbolism as the Hohenstauffern eagle or the two headed branch of Ethiopia, the writer of the prose Tristam recounts that of all the knights of the Round Table, Sir Pallamedes was the only one who wore two swords. Whether as a reference to Pallamedes' name or the political wisdom Prester John stood for, or, perhaps, as a conflation of both, it is interesting that the blackamoor's head was one of the earliest watermarks in the history of paper making. Examples collected date from about 1380 to 1460.

Another possible reason for the imagery of Sir Pallamedes could well have been a rather ironic geo-political one. During the dark ages the culture of the Roman empire had, for the most part, been fairly obliterated. During the Crusades, western intellectuals became all too aware that it was their adversaries they would have to turn to for any advance in their educational systems since the moslem world had become the reservoir of classical Greco Roman learning. Due to the Saracen sages with which Frederick II surrounded himself, for example, Sicily developed into one of the most important intellectual centers of Europe, spreading the scholarship that had been derived from Arab translations. His court was so Islamic in its splendor that not only in the Midde East but throughout Europe he was referred to as 'Sultan.'

Since the Fatimid dynasty of Egypt during the 11th and 12th centuries had been of Sudanese extraction, and because their armed forces during this period had been augmented by a compliment of fifty thousand black troops a year, it should not be too difficult to understand how the image of the African had come to be associated, like Sir Pallamedes, with "ancient wisdom."
 

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Posted by TruthAndRights (Member # 17346) on :
 
The rest of the pictures that belong above (I can't post more than eight in one thread at a time, apparently):











 

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Posted by TruthAndRights (Member # 17346) on :
 
http://www.pbs.org/wgbh/pages/frontline/shows/secret/famous/ssecretum3.html

SIGILLUM SECRETUM
Part III Sable

Besides this possible reference to Prester John, another reason for the black blazon of the imperial eagle is to be found in the rules and regulations governing the use of 'metals' and 'tinctures' in coat armour.

Following the classical Greek analysis of light and colour, black and white were considered the two primaries since the interplay between light and dark is what was held to produce the spectrum. Furthermore, white, or more accurately, light, was not defined as a colour or 'tincture' but as the gold or the silver which, to this day, are still the only options for the term 'metal' in the language of heraldry. Black, therefore, was considered the most important of colours, ranking above the red, blue and green standardly referred to as 'tinctures'.

Thirteenth century texts explaining the imperial insignia go even further. Because of medieval conceptions of the absorption of light by darkness, the writers theorized that within the color black was contained all the light or the white it had displaced.

This is obviously the reason why when the ruby is substituted for red or 'gules' and the emerald for green or 'vert' according to the traditions of gemnological blazonry, it is nothing other than the diamond that stands for 'sable'. In all probability, it is also this line of reasoning that contributed to the cult of the Black Madonna. For, having borne the Light of Creation within her very womb, the devotion to the Mother of God as the (coal) black Queen of Heaven is a superb example of how this law of physics was at one time interpreted.

According to the early heralds, the black eagle on a field of gold translated quite literally to, "As God is in Heaven so is the Emperor on Earth". The colour of its outspread wings was explicitly said to symbolize the embodiment or the materialization of light. Furthermore, since it was also held that the dark, by its interaction with the light is what produced the spectrum, the colour black apparently came to represent the intermediary position a divine rights monarch maintained between his God and his people. If the eagle, therefore, was the zoomorphic symbol of these ideas, the blackamoor in Hohenstauffern Europe could only have been interpreted as their anthropomorphic equivalent. Indeed, there is another explanation for the imperial eagle's blackness that bears this out. As the most powerful of birds flying so close to the sun, it, like the Ethiop, was regarded as a solar symbol.


Perhaps because it is so recent and therefore so comparatively easier to interpret, one of the more exciting examples of the blackamoor as a symbol of the Redeemer is the one to be found in an insignia designed by Pope Pius VII in the early part of the last century. Commonly referred to as the Moretto, it was awarded to the Princes of the Academy of St. Luke, a class of nobles created exclusively for artists by the Holy See in recognition of their life's work and contributions to the field. It is in the age old tradition that St. Luke once painted a portrait of the Infant Jesus where the key to the symbolism of this Papal decoration can be found. The fact that St. Luke is also an evangelist, is evidence enough that at least, allegorically, he had succeeded in the challenge which, as a true artist, he would, of course, have had to confront--that of conveying in his painting the divine reality incarnate in the form of a human child. As clearly then as the Moretto or, in English, the Little Moor is a metaphor for the incarnate God St. Luke portrayed, so too is the implied challenge to the artist: to portray for the world the Divinity nascent in it.


It is this last example in particular which leads me to think that the blackamoor figured candelabra dating back a century or two earlier was meant to be seen in this light. Instead of another embarrassing icon like the lawn jockey or the Aunt Jemima cookie jar--those examples of main stream Americana which many of us find so embarrassing--this classic European 'object d'art' was probably intended either as an injunction or a blessing. And, from what I have already pointed out regarding the imagery of St. Maurice, perhaps the most negative significance they might have had is that they were also intended as Counter-Reformation propaganda.


--------------------------------------------------------------------------------


What I hope I have, at least, succeeded in providing here is the outline for a study which, even though based on so arcane and romantically European a tradition as heraldry, could nevertheless prove a great deal more revolutionary than any of the more 'politically correct' approaches to black history undertaken thus far.


For if this was the visual language that once articulated or signified the most important of the spiritual, cultural and political aspirations of the West, it would not be too difficult to imagine the kind of impact such a primer or catechism of positive black symbolism could have today on those whose self imagery has been so consistently and so systematically destroyed by the racism of our more recent past.


Today, one of the few vestiges that remain of this medieval mysticism can be found in the colour of the robes we wear at graduation--that right of passage by which society declares us to be 'educated'--and the robes of those who make decisions regarding our legal affairs. Although clerical garb might be interpreted as the rejection of worldly comforts and benefits, it is, therefore, a mark of the wearer's more profound pursuit as well. And, as every woman knows, it is the secret of the little black basic which can add immeasurably to her air of sophistication.


Mario Valdes
Copyright © 1992


htp
 

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Posted by TruthAndRights (Member # 17346) on :
 
RUSSIAN NOBILITY

http://www.pbs.org/wgbh/pages/frontline/shows/secret/famous/ustinov.html



On his father' side Ustinov is a member of the old Russian nobility. But on his mother's side, he is a member of the Ethiopian Royal Family. The origin of this interracial line was the marriage of his great grandfather, a Swiss military engineer, with the daughter of the Emperor Theodore II. Forbidden to leave Ethiopia, as were the most valued of the Europeans who joined the Imperial service, the engineer had been wedded to the princess, apparently not only in compensation, but to insure his loyalty to the Emperor.

The former Ethiopian legation to Canada, who were then working with the Department of MultiCultural Affairs in Quebec related how, on a number of occasions, they had requested Ustinov to represent Ethiopia to the media in the same way that he had Russia during the years of the cold war when he appeared to be the only cultural liaison between the Soviet Union and the West. Apparently because of the racial climate at the time, Ustinov had not been able to rise to the occasion. Indeed, in his first two autobiographies, he described his great grandmother as a Portuguese woman at the Ethiopian court. It was not until sometime later that he acknowledged his royal genealogy during a CBC Radio interview.


 

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Posted by TruthAndRights (Member # 17346) on :
 
http://www.pbs.org/wgbh/pages/frontline/shows/secret/famous/lethiere.html



In 1980, an unsigned painting acquired by the Rhode Island School of Design a few years earlier, was identified as the work of the once-popular French artist, Guillaume Guillon Lethiere who was born in 1760. Although such attributions are rarely newsworthy, what should have made this one more interesting to us as Americans than even the French themselves is information concerning Lethiere's ancestry that has only recently come to light.

Like Alexandre Dumas, the author of Man In The Iron Mask, Lethiere was a man of color. (I am hoping that the presence of this painting in Rhode Island will prove providential. For, RISD was founded by Providence's art community to celebrate the prize which one of their members - the African American Edward Bannister - won for landscape painting at the Philadelphia Centennial Exhibition in 1876.)

Biographical material on Lethiere always mention he was the illegitimate son of a colonial official from the French West Indian island of Guadalupe. However, it was not until 1977, in a five-volume work on Ingres (who had been a student of his) that Lethiere's mother was described as a mulatto. Judging from the portraits Ingres did of him, however, she was probably more Caucasian - no doubt, a quadroon like so many of the mixed blood women of the French colonies whether here in New Orleans or des Antilles, whose sway over their white masters had almost become legendary by the end of the 18th century.

On the other hand, it is quite possible that, even if she were as black as claimed, he simply did not inherit any of his mother's African features - except the curliness of his hair and perhaps a shorter distance between eye and brow than is usually perceptible in white males. One reason why he was not brought to the attention of the African American community two decades ago is more than likely due to the fact that the biography of Ingres by Hans Naef in which this information appears was published in German.

What makes Lethiere so relevant to us in this still racially-troubled society of ours today is the fact that - as easy as it would have been for him to pass for white - he never did. Even the style of painting which he so tenaciously adhered to was proof of his lifelong commitment to social and racial justice. Now referred to as Neo-classical, it was a school of painting which, through its illustration of the Roman histories, attempted to create politically-loaded allegories on the subject of civil and national duties. From about the time of Lethiere's arrival in France in 1774, artists had begun to uses this idiom to propagandize ideas growing around the concept of democracy which would eventually break out as the French Revolution.

Coincidentally, the painting in RISD's possession was Lethiere's submission to the Salon of 1785 - one of the most important showings in the history of Western art since it was on this occasion that David exhibited his Oath of the Horatii. Critics at the time were stunned by its political power and to this day scholars, whether in the humanities or the social sciences, point to this event as the beginning of the Revolution. What makes the relationship between the two pictures of Lethiere and David even tighter is their subject matter. Indeed, the fact that they are both illustrations of the same story became an important clue in the dating of Lethiere's work since it was the interpretation of this tragedy, taken from the Roman author, Livy, which had been prescribed by the Academie for that year. The scene Lethiere painted shows the death of Camille at the hands of her own brother, one of the Horatii. She had fallen in love with an enemy of the state who was soon slain in battle. On her brother's triumphant return from the war, her hysterical reaction proved too much for him and he dispatched her with his sword. Perhaps indicative of both their personal and professional relationship even then, David's masterpiece represents the opening of the drama which Lethiere so gruesomely ends.

According to his contemporaries, Lethier not only became the first to take up this risky and overtly polemical style of David's, even more significant is that he began openly competing with David over techniques in composition, color, etc. with which to stretch to their very limits the Revolutionary rhetoric they were interpreting. The violence of the scenes he depicted and the highly emotional expressiveness with which he rendered the characters involved became a hallmark of his oeuvre. Even though the critics later tried to dissuade him of such mannerisms, he held steadfastly to a credo that the voice of the artist, in contrast to those of falsehood, corruption and oppression is marked by its immoderation. As the social historian, Thomas Crow, explains, "By the standards of society, [the intellectual's] discourse may be awkward, over-direct, embarrassingly impassioned, but these qualities are themselves the sign of the truth of his words."

Despite or, perhaps, precisely because of the "embarrassingly impassioned" dedication with which he attacked his canvases, Lethiere, like his rival, David, became an official propagandist for the Revolution. Hardly a dozen years ago, another work which had also just been reattributed to him was hailed as the chef-d'oeuvre of the Museum of the French Revolution. Entitled The Homeland in Danger, it was painted to help institute a conscription system adopted by the Council of Five Hundred to protect the country from the armies of the Second Coalition that had begun threatening its borders in the spring of 1799. A reviewer of the Salon for that year wrote:


It is large, this canvass: full of verve and effect...In the center, the elite of the French youth breathe the fire of combat and their mood anticipates victory. Victory is writ large on their generous faces and their forceful aspects. The magistrate has not said more than one word: Remember, you have the honour of being French. Enflamed and beautiful with the virtue and the passion for liberty, the women love these heroes. The young men receive their kisses and embraces; they vanquish...The action of those who bear arms is energetic and truthful! It is faith that gives them title to love and glory, the two passions that are truly French.
The intensity of Lethiere's political conviction in all probability stemmed from his racially mixed heritage. To someone like himself, all the rhetoric regarding Liberte, Egalite and Fraternite would have been that much more urgent. In 1777, only three years after his arrival in France, a royal edict charged


"...we are now informed that the number of blacks in France has multiplied too much for the facilitation of commerce between America and France, that arriving daily from the colonies are proportionately too many men needed there to work the land, that at the same time, their sojourn here in the towns of our kingdom, especially in the capital, embues them with a spirit of independence and insubordination making them more nuisances than useful on their return to the colonies"
It was consequently ordered that French ports would thenceforth be closed to the entry of Negroes, mulattos, and other people of colour. Persons attempting to bring anyone of this racially proscribed group into the country would be fined. A year later an act followed forbidding marriage between whites and blacks. Any notary writing either a licensee or a contract for such a marriage would be subject to a fine and the parties entering into such a marriage would be expelled to the colonies. Just how seriously these regulations were enforced is not too clear. Racial feelings of this kind appear to have been limited to French West Indian planters and their friends among the aristocracy and the upper bourgeoisie. Furthermore, the abolition of slavery and the slave trade was, from the middle of the century, as important as any of the popular movements leading up to the revolution. No research has yet been done to make an assessment of Lethiere's reaction to such laws. The only indication we have for the time being is his life-long dedication, both as an artist and as a teacher, to the political tenets of Neo-classicism.

During the French Revolution, Negroes and mulattos figured prominently as group. Among them were representatives of the black population des Antilles to the parliamentary bodies in Paris. At the outset of the Revolution, the whites from the colonies sent only their own representatives. This led to a letter of protest to the National Assembly in 1789, in which certain mulattos who designated themselves, "Commissioners and Deputies of the coloured citizens of the French Isles and Colonies," demanded that the Negroes and mulattos of Santo Domingo, Martinique and Guadeloupe be represented as well as whites. In a subsequent speech he delivered to the Assembly on behalf of the gens de couleur libre in Santo Domingo to which he belonged, Julien Raimond, a noted lawyer practicing in Paris even offered six million livres as security for the national debt if the government complied. C. L. R. James has noted that considering how wealthy this class had become by then, this was no idle proposition. However, due to the machinations of the Colonial Committee which, as its name indicates, was controlled by the white planters, it took five years before the black delegates were seated. On February 4th, 1794, the abolition of slavery throughout French possessions was declared and in his reception of the new members to the Convention, the president kissed each of them on both cheeks. Whether just a coincidence or not, it is interesting that five of the seven representatives welcomed that day were sent to the Council of Five Hundred, the same legislative body for whom he painted The Homeland in Danger in 1799.

The almost messianic role David played in French art did not completely eclipse Lethier's output or his career. From the press his critics gave him it is quite clear that he was respected as a worthy runner-up, if not a potential competitor, of the older man. In 1784, the year before the David's monumental achievement, for instance, Lethiere had placed second in the Prix de Rome and in 1786, the year after, the Academie declared that even though he had not succeeded in winning one, he deserved a pension and granted him a scholarship to study in Rome. Besides taking care of his expenses, even more importantly, this award (which David had also been given a dozen years earlier) guaranteed the recipient lucrative commissions on his return to France.

Who or what his sources were Lethiere did not say, but the following by T. Oriol from his Hommes Celebres de Guadalupe gives us some idea not only of his career as a teacher but as a competitor of David's.


"Between Lethiere's students and those of David's, what started off as courteous rivalry, little by little, became pronounced to the point of becoming violent opposition. The first were among the revolutionary in the matter of art. The second exaggerated the classicism of their master. With them, the purity of style was reduced to artistic poverty; the search for absolute equilibrium reduced to a mirror like symmetry. And as youth tend to exteriorise their sentiment and ideas, they expressed through their clothes, their mannerisms and their language, a glacial dignity and haughtiness which was strange to see in their young ways and candid faces. It goes without saying that Lethiere's students adopted exactly opposite ways. In their studios there was more of a tendency to attack a canvases than to hold a seance over it. Warriors, a bit intimidating, they roamed the streets, unshaven, making fun of David and heedless of what anyone thought of them...the artistic and literary public was itself divided into two camps: one, partisans of the School of Lethiere, the other, faithful admirerers of David."
It would seem that in the Bonaparte family, sides had been taken as well. For when Napoleon came to power he kept David on as the state's adjudicator of the arts while his brother, Lucien, took Lethiere into his patronage. As artistic advisor to Lucien Bonaparte, Lethiere collected a great many of the Spanish paintings in the Louvre today. No doubt the high point of his career, however, were the years he spent as Director of the Academie de France in Rome. Even how this came about should serve as a measure of the tendresse the country as a whole evidently felt for him. Because of some remark or other made about his mustache by one of a group of officers in the Imperial army trying to strike up a conversation with him in a cafe, the hot-tempered Lethiere who had no sympathy for Napolon's ambitions started a fight in which one of the men was killed and another wounded. Instead of being tried for a capital offense, the government ordered his studio closed. With no other options available to him, Lethiere and his family were forced to traipse through Europe like gypsies until, thanks to the intervention of his patron, Lucien Bonaparte, he was appointed to this rather prestigious position.

Until we learn a bit more of this man's personal history, the only instance that has been suggested of any racial prejudice he might have experienced was the incident in which his election to the Institute was vetoed by Louis XVIII. But even this slight could simply have been due to his politics. His probably rather rude reactions to the loss of his post in Rome at the restoration of the monarchy in 1814, a not surprising result of his staunch republicanism, had in all likelihood made the rounds at Versailles. Whatever the cause of the king's initial antipathy to Letheire, he finally gave in to the wishes of the Institute a couple of years later and not only confirmed the artist's election to that august body but assented to his induction as a Knight of the Legion of Honour, as well.

Although it would by no means prove whether or not the contretemps between the King and Lethiere had in any way been a racial one, it should nevertheless be pointed out that another Chevalier Noire originally from Guadeloupe had been appointed head of the Paris Opera by Louis XV. Much darker than the painter, the Chevalier de St. Georges, a very gifted composer and all around athlete popular at court during the Ancien Regime, declined the King's invitation on overhearing that one of the sopranos was "disinclined to be directed by a mulatto."

How the king's initial decision might later have been interpreted as racist can probably be traced back to another crisis Lethiere had to deal with during this particular period of his life. From a report in the Gazette de France dated February 28th, 1819, which Hans Naef reprinted in his biographical chapter on Lethiere, we learn that a distant relative had, over a number of years, been attempting to challenge the rights to the estate the artist had inherited from his father, Pierre Guillon. It is neither his illegitimacy or the race of his mother, Marie-Francoise Pepaye, that was at issue. Although both these points are made in the dossier, the issue being debated before the court was the date of his birth. If, as his cousin, M. Delpeyron, insisted, Lethier had been born in 1765, three years after Guillon's marriage, then he was the child of an adulterous liaison and as such could not be officially recognized by his father. What this apparently meant, could Depeyron prove it, was that according to French law, Lethiere would not have been entitled to his patrimony. As the Gazette triumphantly reported, however, the court ruled in favour of Lethiere and later that year he was further rewarded for his contribution to his country with a tenured professorship at the Ecole des Beaux Arts.

Of the little that is known concerning this French master, the most overtly racial episode in his long career is the one revolving around a painting he executed about ten years before his death and which has only recently come to light. Long believed lost in a fire that had ravaged the Cathedral of Haiti where it hung, the badly damaged piece was discovered in 1991. Thanks to the initiative of the Association des Amis de Lethiere, a cultural organization set up in Guadeloupe in 1988 by Genevieve Capy and G. Florent Labelle, it has been restored under the Direction des Musees de France. Entitled the Oath of the Ancestors, the canvas measuring 333 x 225 cm. represents the two principal artisans of the Haitian independence, the Generals Petion and Dessalines, swearing their united opposition to slavery and their defense of the Haitian constitution. Considering that the very light skinned Petion was from the same privileged class of mulatto elites as his mother had been and one which until the French Revolution had itself proved so viciously antagonistic to the demands of the blacker segments of the population, this painting can probably be read as an apologia by Lethiere on behalf of those who, like himself, were of racially mixed background. As has been pointed out by the curators at the Louvre where this work was on display in February and March 1998, this is the only painting on which the artist affixed the words ne a la Guadeloupe to his signature.

Besides Lethiere's submission to the Salon of 1785, three other pieces have turned up in New England which are an important part of this man's story since they are portraits of himself and his family. In 1966, Harvard University's Fogg museum acquired a profile in pencil of Lethiere by Ingres. The Fogg also owns a seated portrait of Lethiere's wife in the same medium and by the same artist. Back in 1959, the MFA had already picked up a drawing, also by Ingres, of the artist's son Alexandre, his wife, Rosina and their daughter, Letizia. These had all been done by Ingres while he was a pensioner of Lethier's at the Academy's Villa Medici in Rome. Even though he was not yet born to have figured as the child in the MFA's group portrait as had originally been presumed, it should be mentioned that like his grandfather, Alexandre's son, Charles, was also knighted. In a citation that would have made his West Indian ancestor's heart burst with pride, the journal, Le Siecle, not known for exaggeration or religious sentiments, wrote:




"A distinguished homeopathic doctor, Doctor Lethier, prodigious in his indefatigable activity and the most laudable selflessness, has for more than fifteen years, administered to the needs of the most indigent among the sick. Informed of his devotion and his perseverance, the Holy See of Rome has bestowed on Doctor Lethier, the Cross of the Knights of Saint Gregory the Great. This award is certainly well deserved."
Indeed, in a tribute to Doctor Lethiere published by another of the journals that reported this award, his grandfather was not only commemorated for his talent as an artist but, even more importantly, given the context in which he was referred to, Guillaume Guillon, dit Le Thiers, was honoured as a man who had "distinguished himself for his private virtues."



Mario de Valdes y Cocom Copyright 1998


htp
 

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Posted by Brada-Anansi (Member # 16371) on :
 
Nice work TruthandRights but
I had already done that,
could have save your self a lot time..go back over some old threads of the Moors
including some of Egmonds..
 

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Posted by StTigray (Member # 16910) on :
 
Absolutely fascinating.
 

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Posted by dana marniche (Member # 13149) on :
 

quote:

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Originally posted by Recovering Afro-holic:
His point was not that he had Black blood. The point he was trying to make was that the man was Black. Here are his own words from the first page of the thread:

"Off course you guys understand that The black boy had a black father and mother as whites do not make white babies. His brother James II and his daughter Anne (a lesbian) were black, his sister maria Henriette Stuart was black and all the women he married and fucked were black. His bastards were black. His cousin The sun king, Louis XIV was black, as were all the Bourbons and Valois kings."

Does that sound like someone who is saying the person had black in his geneology OR the person WAS BLACK?

Just curious dana, did you even bother reading the entire thread?

quote:

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Originally posted by dana marniche:
I think his point is that royalty had black blood in them which is probably true judging from the genealogy, and Europeans have tried to downplay it.

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quote:

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THANK YOU SO MUCH, DEAR! NOW GO BACK TO SLEEP.

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quote:

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Originally posted by IronLion:
Moamar Ghadaffi is blacker
than you will ever be ...

He is a true African hero
in a continent interwoven
by blood and love

But you can believe what you can
until you make the effort to go
visit Africa in person.

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Not meant for me but I answer anyway.

I lived the first 24 years of my life in Africa. I KNOW what people in Libya and the other North African countries think about the colourings of people from the other Africa. The see us as black apes.
 

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Posted by Egmond Codfried (Member # 15683) on :
 


[Alessandro de Medici, Duke of Florence, was named Il Moro, and his image is used to portray the family's blue blood, instead of a more symbolic, mythical Moor]



[Andrea Mantegna
(Isola di Carturo 1431-Mantua 1506)
Portrait of an apostolic
protonotary, Cardinal Carlo de' Medici
1470 ca.painting on panel; 40.5 x 30.5 cm
Florence, Galleria degli Uffizi]

http://www.mediciexhibition.hu/medici/english/paintings.html#2

http://www.mediciexhibition.hu/medici/english/paintings.html



[Lorenzo de Medici]

A black is someone who at least looks black and is accepted as black by his black peers. But mostly he self-identifies as black with roots and connections to Africa.

The Moors in western art (1500-1789) are mostly symbols of the black identity of a nation I have described as a fixed mulatto race, with some looking more African, Asian or white, but sharing the same identity, called blue blood. Which I have discovered to be black blood. As blue men was the name for the black Europeans during the medieval period (500-1500).

Some Moors are real persons, as Alessandro de Medici. Then the image of a real person and a family member is used to display the family’s nobility.

They considered the Moor, a classical African, also referred to as ‘a true negro,’ as the source of their blackness. That’s why I have named them a fixed mulatto race, mulatto because of their blackness coming from Africa. And they identified with a black Jesus, god and Maria, because to them black was superior. They looked down on whites, using their hides to bind precious books with. This domination, which made Europe as we know it, is the root for racism against blacks, because they were dominated by these blacks. White Europeans only came into their own, in the second half of the 19th century and after they had wholesale white washed European history. The Great Men of European were originally black and coloured, but became white as a result of 19th century history writing.

A lot of this so-called afrocentrism on British site’s strikes me as assimilated and thus deceitful. Afrocentrism but which does not threaten white supremacy. This is impossible, where I have stated that white supremacy is based on fake, whitened, revisionist portraits of a European elite which was described as black and coloured. Yes we have Charlotte-Sophie Mecklenburg looking classical African with a brown colour, broad nose, thick and prognastic lips and frizzy hair, but then where did her blackness came from? This is never explained, or they come up with something of Alexander Hannibal screwing his was back to Moscow from Paris, and she being his granddaughter.

There is no proof that the Moor in the painting of the Countess of Lichfield is Indian. He resembles her father as a boy, The Black Boy. Yet I’m discussing these things with people who think that a painting is always realistic, that a painter cannot stray from what he has in front of him, that he cannot fantasise a background, a costume or add a fantasy figure like Moor to a painting or render his black and coloured subject as white.

Egmond Codfried is from Surinam, S.A and does his writing and publishing under his real name.
 

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Posted by Egmond Codfried (Member # 15683) on :
 

quote:

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Originally posted by Egmond Codfried:
http://www.freakingnews.com/pictures/36000/White-Obama--36389.jpg[/IMG]

http://www.kuteev.ru/2009/whiteobama.jpg[/IMG]

http://penetratinginsightsintotheobvious.com/white.jpg[/IMG]

http://s.buzzfed.com/static/imagebuzz/2008/6/16/17/cc592dbb8f974099916c6ea179bbe30e.jpg[/IMG]

http://jasonjeffrey.files.wordpress.com/2009/02/obama-white.jpg[/IMG]

http://farm4.static.flickr.com/3171/2880333670_1897b9a0dc.jpg[/IMG]

Obama is white, with no damn trace of any blackness, just like all these American crackers and that djehutitrash who soil my thread here!
If you are so sure that Charles II Stuart was white, why do you pursue me all the way in Egypt land. Do you think you can stop me from spreading my theories to all the four corners of the world. What kind of fucking nutcase are you? Jeez!

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quote:

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Originally posted by Egmond Codfried:

quote:

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Originally posted by Egmond Codfried:
http://www.freakingnews.com/pictures/36000/White-Obama--36389.jpg[/IMG]

http://www.kuteev.ru/2009/whiteobama.jpg[/IMG]

http://penetratinginsightsintotheobvious.com/white.jpg[/IMG]

http://s.buzzfed.com/static/imagebuzz/2008/6/16/17/cc592dbb8f974099916c6ea179bbe30e.jpg[/IMG]

http://jasonjeffrey.files.wordpress.com/2009/02/obama-white.jpg[/IMG]

http://farm4.static.flickr.com/3171/2880333670_1897b9a0dc.jpg[/IMG]

Obama is white, with no damn trace of any blackness, just like all these American crackers and that djehutitrash who soil my thread here!
If you are so sure that Charles II Stuart was white, why do you pursue me all the way in Egypt land. Do you think you can stop me from spreading my theories to all the four corners of the world. What kind of fucking nutcase are you? Jeez!

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These are the sites which show a whitened Obama and they have nothing to do with me. The sites can be seen when you hit the reply button. If you delete the information after the .com you can visit the site where the images are published.
These were made by photoshop but the whitened historical images where made by using white or pink paint instead of brown or black paint. Was it Mondriaan who was chastised for giving us blue trees instead of green trees?

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quote:

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Originally posted by Egmond Codfried:
http://www.sandersofoxford.
King Charles II Stuart, alias The Black Boy

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quote:

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Originally posted by Egmond Codfried:


King Charles II Stuart, alias The Black Boy

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Charles' appearance was anything but English, with his sensuous curling mouth, dark complexion, black hair and dark brown 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 parliamentary wanted posters. One of the nick-names he acquired was the black boy His height, at six feet two inches, probably inherited from his Danish paternal grandmother, Anne of Denmark, also set him apart from his contemporaries in a time when the average Englishman was far smaller than today.

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Posted by Egmond Codfried (Member # 15683) on :
 
[QUOTE=Egmond Codfried;4552730]

Citaat:
Charles' appearance was anything but English, with his sensuous curling mouth, dark complexion, black hair and dark brown 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 parliamentary wanted posters. One of the nick-names he acquired was the black boy His height, at six feet two inches, probably inherited from his Danish paternal grandmother, Anne of Denmark, also set him apart from his contemporaries in a time when the average Englishman was far smaller than



[/QUOTE]
 

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Posted by Egmond Codfried (Member # 15683) on :
 

quote:

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Originally posted by Egmond Codfried:
http://www.wissen.de/wde/generator/substanzen/bilder/sigmalink/a/an/ann_/anna_boleyn_1817011,property=zoom.jpg



[Two portraits of Anna Boleyn: one dark, one whitened]

http://www.earlywomenmasters.net/cds/elizabeth/images/elizabeth_levina_teerling.jpg

[Anna Boleyn’s daughter , Queen Elizabeth I, described as 'dark', so this portrat is whitened. She is famous for painting het face white]

ANNA BOLEYN’S APPEARANCE

quote:

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The Venetian diarist Marino Sanuto, who saw Anne during the meeting between Henry VIII and Francis I of France at Calais in October 1532, described her as "not one of the handsomest women in the world; she is of middling stature, swarthy complexion, long neck, wide mouth, bosom not much raised ... eyes, which are black and beautiful".[26] Simon Grynée wrote to Martin Bucer in September 1531 that Anne was "young, good-looking, of a rather dark complexion". Lancelot de Carles called her "beautiful with an elegant figure", and a Venetian in Paris in 1528 also reported that she was said to be beautiful.[27] Other descriptions of her were less neutral. An observer at her coronation wrote that "the crown became her very ill, and a wart disfigured her very much. She wore a violet velvet mantle, with a high ruff of gold thread and pearls, which concealed a swelling she has, resembling a goitre".[26] The most influential description of Anne, but also the least reliable, was written by the historian and polemicist Nicholas Sanders as late as 1586: "Anne Boleyn was rather tall of stature, with black hair, and an oval face of a sallow complexion, as if troubled with jaundice. She had a projecting tooth under the upper lip, and on her right hand six fingers. There was a large wen under her chin, and therefore to hide its ugliness she wore a high dress covering her throat ... She was handsome to look at, with a pretty mouth".[28] Sanders' description contributed to what biographer Eric Ives calls the "monster legend" of Anne Boleyn.[29]

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http://en.wikipedia.org/wiki/Anne_Boleyn

quote:

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In 1532, a new Venetian ambassador described Anne thusly:
'not one of the handsomest women in the world. She is of middling stature, with a swarthy complexion, long neck, wide mouth, bosom not much raised, and in fact has nothing but the King's great appetite, and her eyes, which are black and beautiful - and take great effect on those who served the Queen when she was on the throne. She lives like a queen, and the King accompanies her to Mass - and everywhere.'

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http://englishhistory.net/tudor/annedesc.html

quote:

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Anne Boleyn's Appearance

The only firmly identified, contemporary image of Anne Boleyn - a 1534 medal.
© British Museum.
Scanned by Douglas Dowell.
Anne Boleyn's appearance has been twisted by those who wished to denounce her. Contemporary accounts were distorted by the author's (usual) dislike of her. After her death, a monstrous legend was built up. Nicholas Sander's description provides the supreme calumny. The Venetian ambassador provided a more impartial report - but still not all that flattering. So, what is universally agreed upon?

Anne Boleyn was very dark. All writers agree on this point. Wyatt says she was "not so whitely as . . . above all we may esteem." Sander said she had a "sallow complexion, as if troubled with jaundice", and the Venetian ambassador said she had a "swarthy complexion". Dark brown or black hair, along with eyes so dark they were almost black and a very dark skin, combined to make Anne Boleyn conspicuously dark - and the opposite of the contemporary ideal, with golden hair, blue eyes and a pink-and-white complexion. Anne had small breasts, when a voluptuous figure was the ideal. The Venetian ambassador said she was of "middling stature" and Sander said she was "rather tall in stature". One of her favourite chaplains felt that Bessie Blount was more beautiful, although Anne was quite pretty. Much of this lukewarm praise would have been due to the fact that she was the opposite of the aforesaid contemporary ideal.

In all honesty, the following description of Anne Boleyn is ridiculous; the culmination of a legend built up by Roman Catholics who blamed her for the break with Rome. Therefore, it owes much to the deeply ingrained idea that evil people had hideous exteriors, very much like Richard III's alleged hunchback. However, it goes a long way to illuminate the degree to which Anne was slandered long after her death.

Anne Boleyn was rather tall of stature, with black hair and an oval face of sallow complexion, as if troubled with jaundice. She had a projecting tooth under the upper lip, and on her right hand, six fingers. There was a large wen under her chin, and therefore to hide its ugliness, she wore a high dress covering her throat. In this she was followed by the ladies of the court, who also wore high dresses, having before been in the habit of leaving their necks and the upper portion of their persons uncovered. She was handsome to look at, with a pretty mouth.1

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quote:

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If a person in Europe is called black it's mostly because he has black hair, not that he has black skin.

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Dear, I hear this all the time. Would be kinda nice someone would prove this to me, once and for all.

The personal descriptions I use are quite clear about the persons colour or features:

Charles II Stuart: The Black Boy, a tall black man, the swarthy Stuart.

Lorenzo de Medici: dark and swarthy, with a flattened nose.

Queen Anna Boleyn: very dark, with black eyes and dark hair.

Germaine de Staël: too swarthy, bad complexion

James Boswell: swarthy with black eyes and black hair.

Rousseau: a genteel black man in an Armenian coat (Boswell)

Queen Charlotte Sophie of Mecklenburg Strelitz: a true mulatto face, yellow, brown, her mouth was to wide and her nose shows the same fault.

Charles V Habsburg: his mummy was black with massive subnasal prognatism

Louis XIV: mummy black as ink. He was a cousin of Charles II Stuart; the black boy.

Elizabeth I (Boleyns daughter): dark

William of Orange: more brown then white, brown of complexion and the beard.
 

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Posted by markellion (Member # 14131) on :
 
Here is some more royalty for you Egmond Codfried

King William

"That this trade was highly beneficial to this kingdom;"



King George II

"That the trade to Africa is very advantageous to Great Britain, and necessary to the plantations,"



Robert Norris (1791)

http://docsouth.unc.edu/neh/norris/norris.html

quote:

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page 162

a few indeed were brought to Virginia, by a Dutch ship, as early as 1620;but it was the Royal African Company, that first carried on, from England, a vigorous commerce to Africa, during the reign of Charles II.

page 165 and 166

The adventurers in this trade, who have seen for near a century past, the Society for propagating Christianity, composed of the Archbishop of Canterbury, the Bishop of London, and many pious doctors of the established church, deriving, as masters, a yearly income from the labor of their Negroe slaves in the West Indies, which is appropriated to the increase of Christianity in the world, could not consider it as contrary to the spirit of the Scriptures, or to the principles of morality: nor could the adventurers regard this traffic as inconsistent with the natural rights of mankind, when they read in the statute of 9 and 10 of King William (which was made avowedly for extending the trade to Africa), "That this trade was highly beneficial to this kingdom;" a declaration of a king, who was the patron of liberty, and of a parliament that had vindicated the natural rights of mankind; and when they read also in the stat. of 23 Geo. II. "That the trade to Africa is very advantageous to Great Britain, and necessary to the plantations," Which act was made by a whig king, and a whig parliament; who, when they dissolved the late African Company, granted a large sum of money as a compensation for their rights, in order that a trade thus necessary and advantageous, might be carried on with greater energy and success.

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quote:

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Originally posted by Miles Thiam:

quote:

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Originally posted by IronLion:
Moamar Ghadaffi is blacker
than you will ever be ...

He is a true African hero
in a continent interwoven
by blood and love

But you can believe what you can
until you make the effort to go
visit Africa in person.

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Not meant for me but I answer anyway.

I lived the first 24 years of my life in Africa. I KNOW what people in Libya and the other North African countries think about the colourings of people from the other Africa. The see us as black apes.

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quote:

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Originally posted by markellion:
Here is some more royalty for you Egmond Codfried
King William
"That this trade was highly beneficial to this kingdom;"
King George II "That the trade to Africa is very advantageous to Great Britain, and necessary to the plantations,"
Robert Norris (1791)
http://docsouth.unc.edu/neh/norris/norris.html [QUOTE]page 162
a few indeed were brought to Virginia, by a Dutch ship, as early as 1620;but it was the Royal African Company, that first carried on, from England, a vigorous commerce to Africa, during the reign of Charles II.
page 165 and 166

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http://www.egyptsearch.com/forums/ultimatebb.cgi?ubb=get_topic;f=15;t=000602

The enemy of the negro is the negro himself!

Whites will even exploit or murder other whites if there is profit in it, so will blacks exploit or murder blacks for the same reason. The fact that black Europeans were involved in slavery does not make them white nor does it disprove my theory.
It might be that among the historical European blacks some felt themselves to be Africans, while others regarded themselves as evolved, and Europeans. This might explain why people who I regard as black might have written racist sounding statements about African slaves and their descendents.
 

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Posted by Egmond Codfried (Member # 15683) on :
 


Obama as that guy from Star Trek
Vaporised plane, anyone?
 

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Posted by TruthAndRights (Member # 17346) on :
 

quote:

---

Originally posted by Egmond Codfried:


Obama as that guy from Star Trek
Vaporised plane, anyone?

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laughed so hard I almost p***ed myself, bwahahahahahha.

htp.
 

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Posted by Miles Thiam (Member # 17379) on :
 
I've looked at sandersofoxford.com. The engraving of Charles II that you've chosen to show is discernible from the other ingravings on the page not only because of the fact that the face has a darker skin tone than the other engravings of the same person, the background is also darker than on the rest. Therefore it can not be considererd as a proof of any racial background.
 

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Posted by Miles Thiam (Member # 17379) on :
 

quote:

---

Originally posted by Egmond Codfried:

quote:

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If a person in Europe is called black it's mostly because he has black hair, not that he has black skin.

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Dear, I hear this all the time. Would be kinda nice someone would prove this to me, once and for all.

The personal descriptions I use are quite clear about the persons colour or features:

Charles II Stuart: The Black Boy, a tall black man, the swarthy Stuart.

Lorenzo de Medici: dark and swarthy, with a flattened nose.

Queen Anna Boleyn: very dark, with black eyes and dark hair.

Germaine de Staël: too swarthy, bad complexion

James Boswell: swarthy with black eyes and black hair.

Rousseau: a genteel black man in an Armenian coat (Boswell)

Queen Charlotte Sophie of Mecklenburg Strelitz: a true mulatto face, yellow, brown, her mouth was to wide and her nose shows the same fault.

Charles V Habsburg: his mummy was black with massive subnasal prognatism

Louis XIV: mummy black as ink. He was a cousin of Charles II Stuart; the black boy.

Elizabeth I (Boleyns daughter): dark

William of Orange: more brown then white, brown of complexion and the beard.

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quote:

---

Originally posted by Miles Thiam:
I've looked at sandersofoxford.com. The engraving of Charles II that you've chosen to show is discernible from the other ingravings on the page not only because of the fact that the face has a darker skin tone than the other engravings of the same person, the background is also darker than on the rest. Therefore it can not be considererd as a proof of any racial background.

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[Francois de la Noue, French noble, military leader, historian. Yet no personal description but he looks very black. There are whitened images as well]

The images alone proof little. The personal descriptions should be considered along with the images. Then there is his grandmother Anne of Denmark who ordered an afrocentric play: The Masque of Blackness, in praise of black beauty and explaining how blacks came to Europe, from Africa, looking for a milder sun. Next there are images of Charles II mistress De Kerouaille which shows her with a little Moor, a symbol of blue blood.

My research lasted three years and I have collected many cases before coming to a conclusion. It took me some time to really believe what I have found, as like most people I was also exposed to eurocentric indoctrination that such a thing was totally impossible,

This case is only one of many, where nobles and royals are described as black or brown of skin. Even ethnic features are mentioned. And they even show up in engravings looking quite or extremely dark. So the dark colouring was depicted, and it was important too.

When we realise that the dark colourings of printed images or some paintings really means that these people had colour we can look at other images of person from who we do not have a description yet and conclude they might have been dark as well.

Blue blood derives from blue men as how black Europeans were called during 500-1500.

Because of the (1) many, many images of the Moor in scenes, (2) in heraldry, (4) family and (5) geographical names - a classical African and a symbol of blue blood - we may infer that the blackness from the European nobility was African in origin.
 

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Posted by Egmond Codfried (Member # 15683) on :
 

quote:

---

Originally posted by Miles Thiam:


The Caucasoid, found in Europe, N Africa, and the Middle East to N India, is characterized as pale reddish white to olive brown in skin color, of medium to tall stature, with a long or broad head form. The hair is light blond to dark brown in color, of a fine texture, and straight or wavy. The color of the eyes is light blue to dark brown and the nose bridge is usually high.

http://encyclopedia2.thefreedictionary.com/Brown+skin


Olive, beige, or tan skin (as well as the adjective "swarthy") describes a skin color range of some individuals, who may be of Caucasian, Mediterranean, Asian, and Middle Eastern descent.

http://en.wikipedia.org/wiki/Olive_skin

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quote:

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Originally posted by Muhommed Abed:
Salam Aleikum to the brothers and sisters.


Since I joined this site, I took the liberty of going through many postings. It goes without question that ancient Egypt was Black but not exclusively black. It would depend on what point in Egypt's history one was pointing to. What I don't get with some of the posters on this site is why are you claiming everything as being Black? This thread is an example of what I am talking about. It seems some here are making false claims regarding historical figures.

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quote:

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Originally posted by e3b1c1:
ok brother i saw in the eupedia forum they clam charles of the stewart linage is r1b without even checking is male descendents just because r1b is very common in brittany the region from were is family came we need to remember many kings of england were actuley norman
meaninig french or breton and not saxon and e3b
specificly e1b1b1c1a came to britain with the bretons and normans e1b1b1c1a is not black
you can see male descendents of charles
go google prees 7 th marquess of bute
he defently look e1b1b1c1 by his facial features
we just need a test to find out
regards e1b1b1c1

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[A proud Moor by Juriaen van Streeck, a symbol of blackness, which meant nobility]


I'm definitely not into that DNA mumbo-jumbo, as you might have noticed. Mostly because its rubbish, something cooked up by eurocentrist to exclude Blacks from history. The problem with how some types of science are practiced is that with the same set of 'facts' different scientist come up with wildly different results. Some say the earth is heating up, others say its getting colder. Such an embarrassment!

Universities educate people to respect status quo, not to go against it. Next your livelihood depends on repeating parrot like what your professor has told you. This is not a fertile situation for truth to grow. I'm black and really wanted to know why whites hate blacks so much. And now I have discovered the root of racism; whites being dominated by black nobles and kings (1500-1789).

As for your question, they will never let you get near to dead or alive royal bodies to view or collect DNA. So there is nothing left then a literary-historical analysis to get at the blackness of the European nobility and kings.

I have found that the black identity is more important then DNA. From their DNA you cannot measure the black identity, which is expressed with symbols and intermarriages.
 

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Posted by Egmond Codfried (Member # 15683) on :
 



An Adoration scene by Rubens shows a black magi or king in the middle of the scene.
This symbolises the presence of blacks at the beginning of Christianity, so blacks or a black king can be a good Christian to.

This concept started somewhere in the south of Germany around 1200-1300 and became a fixed theme in all of Europe from 1500.
 

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Posted by Egmond Codfried (Member # 15683) on :
 


Who did this one?

Most people who view my theory are not familiar with the many, many images of blacks in European art. Nor with the family and geographical names based on black or Moor. So they do not understand the importance.
 

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Posted by e3b1c1 (Member # 16338) on :
 
egmond crified who say i hate blacks
i dont
about the fact that no one will let me get near dead body of royal think again these royal
have descendents the 7th marquess of bute descendents from fitzalan the same person that the royal stewart can trace there paternal line
it simple jusy y dna test of this guy and we will know e1b1b1 is the kings dna r1b and i are
so much but they are not rulers in there nature
e1b1b1 was present among the norman invaders
who rule england they beat the saxon r1b at hastings it not only stewart which ithink was e1b1b1 also richard the lion heart and long shack long legs it one of the main e1b1b1 traits
all this kings were french normans or bretons
regards e1b1b1c1
 

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Posted by Egmond Codfried (Member # 15683) on :
 

quote:

---

Originally posted by e3b1c1:
egmond crified who say i hate blacks
i dont
about the fact that no one will let me get near dead body of royal think again these royal
have descendents the 7th marquess of bute descendents from fitzalan the same person that the royal stewart can trace there paternal line
it simple jusy y dna test of this guy and we will know e1b1b1 is the kings dna r1b and i are
so much but they are not rulers in there nature
e1b1b1 was present among the norman invaders
who rule england they beat the saxon r1b at hastings it not only stewart which ithink was e1b1b1 also richard the lion heart and long shack long legs it one of the main e1b1b1 traits
all this kings were french normans or bretons
regards e1b1b1c1

---

quote:

---

Originally posted by e3b1c1:
than good luck with your research
i dont know you to you can be white how say he is black you think dna is nonsense so thats your own opinion y dna is your identety thets what you are it defined your race if you are an r1b you are a european gook ,if you are haplogroup I
than you are realy european

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quote:

---

Originally posted by Egmond Codfried:

quote:

---

Originally posted by Miles Thiam:


The Caucasoid, found in Europe, N Africa, and the Middle East to N India, is characterized as pale reddish white to olive brown in skin color, of medium to tall stature, with a long or broad head form. The hair is light blond to dark brown in color, of a fine texture, and straight or wavy. The color of the eyes is light blue to dark brown and the nose bridge is usually high.

http://encyclopedia2.thefreedictionary.com/Brown+skin


Olive, beige, or tan skin (as well as the adjective "swarthy") describes a skin color range of some individuals, who may be of Caucasian, Mediterranean, Asian, and Middle Eastern descent.

http://en.wikipedia.org/wiki/Olive_skin

---

JA Rogers writes in Sex and Race (1941) that all these supposed African or Black Caucasians are never treated as whites when they arrive in the USA. So what is the practical need of classifying black skinned people as whites? To claim that these black European kings I'm talking about were 'only black looking,' but they were white. This is off course complete nonsense, to those who have a brain and are not afraid to use it.
I myself proposed the KKK test, like if the KKK would accept Charles II Stuart, a dark Caucasian yet white as Grand Dragon, I will withdraw my theory and enter a monastery or something.

---

So you mean people in Southern Europe (Italy, Spain etc) should be considered black???? That was a very unique idea. Soon I have to post my own pic here so you can see what a person who's black really looks like...
 

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Posted by Egmond Codfried (Member # 15683) on :
 

quote:

---

Originally posted by Miles Thiam:

quote:

---

Originally posted by Egmond Codfried:

quote:

---

Originally posted by Miles Thiam:


The Caucasoid, found in Europe, N Africa, and the Middle East to N India, is characterized as pale reddish white to olive brown in skin color, of medium to tall stature, with a long or broad head form. The hair is light blond to dark brown in color, of a fine texture, and straight or wavy. The color of the eyes is light blue to dark brown and the nose bridge is usually high.

http://encyclopedia2.thefreedictionary.com/Brown+skin


Olive, beige, or tan skin (as well as the adjective "swarthy") describes a skin color range of some individuals, who may be of Caucasian, Mediterranean, Asian, and Middle Eastern descent.

http://en.wikipedia.org/wiki/Olive_skin

---

JA Rogers writes in Sex and Race (1941) that all these supposed African or Black Caucasians are never treated as whites when they arrive in the USA. So what is the practical need of classifying black skinned people as whites? To claim that these black European kings I'm talking about were 'only black looking,' but they were white. This is off course complete nonsense, to those who have a brain and are not afraid to use it.
I myself proposed the KKK test, like if the KKK would accept Charles II Stuart, a dark Caucasian yet white as Grand Dragon, I will withdraw my theory and enter a monastery or something.

---

So you mean people in Southern Europe (Italy, Spain etc) should be considered black???? That was a very unique idea. Soon I have to post my own pic here so you can see what a person who's black really looks like...

---

[Louise de Kerouaille with het mythical Moorish ancestor]


First we have to establish what Black is. Then who is Black. I lean to people or a people who self identify as Black. For the European nobility and royals I have found that the images of the Moor in portraits, heraldry, family and geographical names are symbols of their black identity. The Moor is almost always a classical African. So blue blood is black blood. I thus understand that they tell us that their blackness is Africa derived.
 

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Posted by Miles Thiam (Member # 17379) on :
 
You haven't presented even one dokument, letter or other kind of writing where these white royalties would describe themselves or being described by others as e.g. "ethiopians" or "moores". Nouns that in those days could describe what we today mean when we use the adjective "black" about a person. As in a well known example; Alessandro de'Medici who was nicknamed "the Moor".

You claim that a moorish child on the same painting as a white royal person would somehow indicate that the royalty sees himself as "black". Again, you haven't been able to sustain this claim of yours in any way.
 

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Posted by Egmond Codfried (Member # 15683) on :
 
You are free to reject my theories and bypass my threads. I'm done answering your questions and reading your stupid, ignorant remarks. That Maria de Medici is described as Italian does not say what her complexion was. One can see Africa from Spain, even houses and lights. Strange that it would take Africans forever to arrive in Europe. But obviously you hate blacks and you hate gays too, so how can anything I bring up be accepted by such a narrow minded a s s h o l e? Please stop posting in my threads.
 

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Posted by Miles Thiam (Member # 17379) on :
 

quote:

---

Originally posted by Egmond Codfried:
You are free to reject my theories and bypass my threads. I'm done answering your questions and reading your stupid, ignorant remarks. That Maria de Medici is described as Italian does not say what her complexion was. One can see Africa from Spain, even houses and lights. Strange that it would take Africans forever to arrive in Europe. But obviously you hate blacks and you hate gays too, so how can anything I bring up be accepted by such a narrow minded a s s h o l e? Please stop posting in my threads.

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