33 Decades: 1300 => 1630
Neuendorffer
33 Decades: 1300 => 1630
----------------------------------------------------------------
<<Dante's journey starts on Friday, 8 April, 1300
Canto 33: Dante emerges from Hell and
sees the stars again on Easter Sunday, 10 April, 1300.>>
http://www.brown.edu/Departments/Italian_Studies/LD/numbers/04/lobner.html
William Herbert was born on Friday, 8 April, 1580.
William Herbert died of apoplexy on Saturday, 10 April, 1630
after 13 years as the Freemason Grandmaster.
------------------------------------------------------------------
William Herbert's 13th birthday was Palm Sunday: 8 April, 1593
= Catholic Easter Sunday: 18 April, 1593.
Venus & Adonis was registered on: 18 April, 1593.
E.K. Chambers thought the Sonnets were written to Herbert.
------------------------------------------------------------------
The Divine Comedy
http://www.angelfire.com/ak/Nyquil/Dante.html
<<Written by Dante Alighieri in 1306 - 21. The time setting when the
book begins is [the night before Good Friday: April 8] 1300, so he uses
his knowledge of the present to "predict" events. It is divided into 3
sections: Inferno, Purgatorio, and Paradiso. Each one of these sections
is divided into 33 cantos (except Inferno, which has 34 cantos), which
are written in tercets (groups of 3 lines).>>
-------------------------------------------------------
<= 33 =>
TOT [H] EONLIEBEGETTEROFTHESEINSVINGS
ONN [E T] SMRWHALLHAPPINESSEANDTHATETE
RNI [T(I)E] PROMISEDBYOVREVERLIVINGPOET
WIS [H E T H] THEWELLWISHINGADVENTVRERIN
----------------------------------------------------------
http://www.greatdreams.com/washmnmt.htm
<<The aluminum metal apex, representing a small pyramid, on top
of the 3300 pound capstone. The apex was engraved with the
names of the engineers and notables who completed the monument
and on one side contained the words: LAUS DEO.>>
---------------------------------------------------------
Final words of First Folio:
CYMBELINE LAUD we the GODS;
And let our crooked smokes climb to their nostrils
From our blest altars. Publish we this peace
To all our subjects. Set we forward: let
A Roman and a British ensign wave
Friendly together: so through Lud's-town march:
And in the temple of great Jupiter
Our peace we'll ratify; seal it with feasts.
Set on there! Never was a war did cease,
Ere bloody hands were wash'd, with such a peace.
-------------------------------------------------------
Why didst thou promise such a beauteous day,
And make me travel forth without my cloak,
To let base clouds o'ertake me in my way,
Hiding thy bravery in their rotten smoke?
'Tis not enough that through the cloud thou break,
To dry the rain on my storm-beaten face,
For no man well of such a salve can speak,
That heals the wound, and cures not the disgrace:
Nor can thy shame give physic to my grief;
Though thou repent, yet I have still the loss:
The offender's sorrow lends but weak relief
To him [I. cH(eth)] that bears the strong offence's cross.
---------------------------------------------------------
SONNET 33
TOT [H] EONLIEBEGETTEROFTHESEINSVINGS
ONN [E T] SMRWHALLHAPPINESSEANDTHATETE
RNI [T(I)E] PROMISEDBYOVREVERLIVINGPOET
WIS [H E T H] THEWELLWISHINGADVENTVRERIN
--------------------------------------------------------
1. Full many a glorious morning have I seen
2. Flatter the mountain tops with sovereign eye,
http://www.sirbacon.org/gallery/pyramid.html
3. Kissing with golden face the meadows green,
4. Gilding pale streams with heavenly alchemy;
5. Anon permit the basest clouds to ride
6. With ugly rack on his celestial face,
7. And from the forlorn world his visage hide,
8. Stealing unseen to west with this disgrace:
---------------------------------------------------------------
Sonnet 34
T OTHEONLIEBEGETTEROFTHESEINSVINGSO
N N ETSMRWHALLHAPPINESSEANDTHATETERN
I T I EPROMISEDBYOVREVERLIVINGPOETWIS
H E T H THEWELLWISHINGADVENTVRERINSETT
T O T H EONLIEBEGETTEROFTHESEINSVINGSO
N N E T SMRWHALLHAPPINESSEANDTHATETERN
I T I E PROMISEDBYOVREVERLIVINGPOETWIS
H E T H THEWELLWISHINGADVENTVRERINSETT
-----------------------------------------------------
Rushton Triangular Lodge
---------------------------------------------------
<<Reputed meeting place of the Gunpowder plot conspirators. Through a
letter of warning written by Tresham to a peer, the plot was exposed.
Catesby was killed and the others taken prisoner when they were too weak
or badly wounded to fight any longer. All were executed on 31 st January
1606 except for Francis Tresham. He was sent to the Tower of London but
not harshly treated. When he died shortly afterwards poison was
suspected but never proved.>>
http://www.findarticles.com/cf_0/m1373/n3_v46/18099925/p2/article.jhtml?term=
http://www.theheritagetrail.co.uk/notable%20houses/rushton%20lodge.htm
<<The Triangular Lodge went up between 1593 and 1597. By this time Sir
Thomas felt increasingly victimised - his Catholicism, with the
penalties attendant on it, was a major factor in this. The Lodge is an
allegory on the Trinity and the forbidden Mass. It is built in two
different coloured limestones, to a plan based on an equilateral
triangle. Each side is 33 feet and 4 inches long (i.e. one-third
of a hundred) and the inscriptions on each side contain 33 letters.
There are three windows in each of the three floors and,
whenever appropriate, the trefoil which features in the Tresham
coat of arms comes into its own as yet another symbol of the Trinity
in the trefoil over the door is the motto Tres testimonium dant
(There are three that bear witness) from the first Epistle of St. John.
Everywhere space was found for inscriptions and the emblems or conceits
which were so fashionable at the time. They were intended to convey a
meaning in a more or less disguised form. Where there are layers of
meaning, as in the Tresham buildings, it is likely that some of the
clues still remain unravelled. At the Lodge, Mass was symbolised by the
Lamb and Cross and the Chalice. One inscription is taken from the
preface to the canon of the Mass. Of all Sir Thomas' architectural
creations, the Lodge is the most detailed and complete.>>
-----------------------------------------------------------
Art Neuendorffer
Neuendorffer
Neuendorffer
33 Decades: 1300 => 1630
----------------------------------------------------------------
David L. Webb
the "To," "Cc," and "Newsgroups" headers for details. ]]
In article <3B67E38A...@erols.com>, Neuendorffer <ph...@erols.com>
(ph...@errors.comedy) wrote:
> ----------------------------------------------------------------
> 33 Decades: 1300 => 1630
> ----------------------------------------------------------------
> Dante enters Hell on Good Friday, 8 April, 1300
> Canto 33: Dante emerges from Hell and
> sees the stars again on Easter Sunday, 10 April, 1300.
>
> http://www.brown.edu/Departments/Italian_Studies/LD/numbers/04/lobner.html
>
> William Herbert was born on Friday, 8 April, 1580.
> William Herbert died of apoplexy on Saturday, 10 April, 1630
> after 13 years as the Freemason Grandmaster.
Just out of curiosity, Art, what is your evidence that William
Herbert served thirteen years as "Freemason Grandmaster"?
[...]
> <= 33 =>
>
> TOT [H] EONLIEBEGETTEROFTHESEINSVINGS
> ONN [E T] SMRWHALLHAPPINESSEANDTHATETE
> RNI [T(I)E] PROMISEDBYOVREVERLIVINGPOET
> WIS [H E T H] THEWELLWISHINGADVENTVRERIN
"Heth"?! VERy impressive, Art!
[...]
> Why didst thou promise such a beauteous day,
> And make me travel forth without my cloak,
> To let base clouds o'ertake me in my way,
> Hiding thy bravery in their rotten smoke?
> 'Tis not enough that through the cloud thou break,
> To dry the rain on my storm-beaten face,
> For no man well of such a salve can speak,
> That heals the wound, and cures not the disgrace:
> Nor can thy shame give physic to my grief;
> Though thou repent, yet I have still the loss:
> The offender's sorrow lends but weak relief
> To him [I. cH(eth)] that bears the strong offence's cross.
That's odd, Art -- neither modern editions nor facsimile editions
show any "heth" in the twelfth line of the sonnet. Did you just make
that up? That's what I thought.
> ---------------------------------------------------------
> SONNET 33
>
> TOT [H] EONLIEBEGETTEROFTHESEINSVINGS
> ONN [E T] SMRWHALLHAPPINESSEANDTHATETE
> RNI [T(I)E] PROMISEDBYOVREVERLIVINGPOET
> WIS [H E T H] THEWELLWISHINGADVENTVRERIN
> --------------------------------------------------------
You posted this rubbish just a few lines above, Art. Are you
getting senile?
[...]
> Sonnet 34
What?! 34?! I thought that *33* was the mystical number, Art --
unless, of course, it's 19.
>
> T OTHEONLIEBEGETTEROFTHESEINSVINGSO
> N N ETSMRWHALLHAPPINESSEANDTHATETERN
> I T I EPROMISEDBYOVREVERLIVINGPOETWIS
> H E T H THEWELLWISHINGADVENTVRERINSETT
>
> T O T H EONLIEBEGETTEROFTHESEINSVINGSO
> N N E T SMRWHALLHAPPINESSEANDTHATETERN
> I T I E PROMISEDBYOVREVERLIVINGPOETWIS
> H E T H THEWELLWISHINGADVENTVRERINSETT
You posted this rubbish -- twice -- just a few lines above, Art.
You're really oVERdoing your Richard Kennedy senility parody, Art.
What is your point, Art? That various religious groups reVERe the
Trinity? That's hardly news.
David Webb
Neuendorffer
> > ----------------------------------------------------------------
> > 33 Decades: 1300 => 1630
> > ----------------------------------------------------------------
> > Dante enters Hell on Good Friday, 8 April, 1300
> > Canto 33: Dante emerges from Hell and
> > sees the stars again on Easter Sunday, 10 April, 1300.
> >
> > http://www.brown.edu/Departments/Italian_Studies/LD/numbers/04/lobner.html
> >
> > William Herbert was born on Friday, 8 April, 1580.
> > William Herbert died of apoplexy on Saturday, 10 April, 1630
> > after 13 years as the Freemason Grandmaster.
>
>
> Just out of curiosity, Art, what is your evidence that William
> Herbert served thirteen years as "Freemason Grandmaster"?
The Complete Peerage: WILLIAM HERBERT,
3rd Earl of Pembroke, Grand Warden and,
1618, Grandmaster of the Freemasons till his death.
He succeeded Inigo Jones, of whom he was a patron.
--------------------------------------------------------
> > <= 33 =>
> >
> > TOT [H] EONLIEBEGETTEROFTHESEINSVINGS
> > ONN [E T] SMRWHALLHAPPINESSEANDTHATETE
> > RNI [T(I)E] PROMISEDBYOVREVERLIVINGPOET
> > WIS [H E T H] THEWELLWISHINGADVENTVRERIN
>
> "Heth"?! VERy impressive, Art!
HETH n : the 8th letter of the Hebrew alphabet
http://www.fortunecity.com/roswell/leadbeater/0/heth.htm
<<HETH is an energy that issues from the Great Mother into the
abstract mental body of microcosmic man. The HVH (Eve) formula
ingeniously expresses the HETH-stage of the process of creative
manifestation as described above. She exemplifies this one
specific aspect of the full IHVH creative formula.>>
The Gematria of Adam is: 45 = Mem (40) Dalet (4) Aleph (1)
The Gematria of Eve (Chava) is: 19 = Hey (5) Vav (6) Ches (8)
---------------------------------------------------------------------
`I love my love with an H,' Alice couldn't help beginning,
`because he is Happy. I hate him with an H, because he is Hideous.
I fed him with--with--with Ham-sandwiches and Hay.
His name is Haigha, and he lives--'
`He lives on the Hill,' the King remarked simply, without the
least idea that he was joining in the game, while Alice was still
hesitating for the name of a town beginning with H.
--------------------------------------------------------------
> > Why didst thou promise such a beauteous day,
> > And make me travel forth without my cloak,
> > To let base clouds o'ertake me in my way,
> > Hiding thy bravery in their rotten smoke?
> > 'Tis not enough that through the cloud thou break,
> > To dry the rain on my storm-beaten face,
> > For no man well of such a salve can speak,
> > That heals the wound, and cures not the disgrace:
> > Nor can thy shame give physic to my grief;
> > Though thou repent, yet I have still the loss:
> > The offender's sorrow lends but weak relief
> > To him [I. cH(eth)] that bears the strong offence's cross.
>
> That's odd, Art -- neither modern editions nor facsimile editions
> show any "heth" in the twelfth line of the sonnet. Did you just make
> that up? That's what I thought.
I had a good reason at the time. :-)
> > ---------------------------------------------------------
> > SONNET 33
> >
> > TOT [H] EONLIEBEGETTEROFTHESEINSVINGS
> > ONN [E T] SMRWHALLHAPPINESSEANDTHATETE
> > RNI [T(I)E] PROMISEDBYOVREVERLIVINGPOET
> > WIS [H E T H] THEWELLWISHINGADVENTVRERIN
> > --------------------------------------------------------
>
> You posted this rubbish just a few lines above, Art. Are you
> getting senile?
> > Sonnet 34
--------------------------------------------------------------
the dancing horse will tell you.
--------------------------------------------------------------
Love's Labour's Lost Act 1, Scene 2
MOTH Why, sir, is this such a piece of study? Now here
is THREE studied, ere ye'll THRICE wink: and how
easy it is to put 'years' to the word 'THREE,' and
study THREE YEARS in two words, the dancing horse
will tell you.
DON ADRIANO DE ARMADO A most fine figure!
MOTH To prove you a CIPHER.
--------------------------------------------------------
Art Neuendorffer
Neuendorffer
> > > ----------------------------------------------------------------
> > > 33 Decades: 1300 => 1630
> > > ----------------------------------------------------------------
> > > Dante enters Hell on Good Friday, 8 April, 1300
> > > Canto 33: Dante emerges from Hell and
> > > sees the stars again on Easter Sunday, 10 April, 1300.
> > >
> > > http://www.brown.edu/Departments/Italian_Studies/LD/numbers/04/lobner.html
> > >
> > > William Herbert was born on Friday, 8 April, 1580.
> > > William Herbert died of apoplexy on Saturday, 10 April, 1630
> > > after 13 years as the Freemason Grandmaster.
> >
> "David L. Webb" wrote:
> >
> > Just out of curiosity, Art, what is your evidence that William
> > Herbert served thirteen years as "Freemason Grandmaster"?
> --------------------------------------------------------
> The Complete Peerage: WILLIAM HERBERT,
> 3rd Earl of Pembroke, Grand Warden and,
> 1618, Grandmaster of the Freemasons till his death.
> He succeeded Inigo Jones, of whom he was a patron.
Geoffrey Gibbs
The Guardian [London], Tuesday, September 14, 1999
Researchers looking for material to support an exhibition of 17th
century portraits at one of Britain's leading stately homes have been
stunned to discover a long hidden volume of dramatic works by two of
the most celebrated artistic figures of that age.
The two short plays, or masques, co-written by the dramatist Ben Jonson
and Inigo Jones, the architect and stage designer, were performed at
court for King Charles I almost 370 years ago. They were unearthed by
chance in the archives of Wilton House, ancient seat of the earls of
Pembroke, during research for an exhibition to mark the 400th
anniversary of the birth of the Flemish artist Sir Anthony van Dyck,
nine of whose paintings hang in the Inigo Jones designed property.
Alun Williams, who discovered the hessian bound volume, said experts
from Christies had examined the works. They had confirmed they were
definitely from the period and were probably part of a larger
collection.
"We were surprised and delighted with this extraordinary find," he said
yesterday.
"We had no idea it was there and my heart started thumping when I found
it.
"The manuscripts lay untouched for centuries and we are very excited to
have rediscovered them."
The masques, entitled The Fortunate Isles and Love's Triumph through
Callipolis, were performed at court in 1626 and 1630.
According to notes on the back cover of the second play, the fourth
earl of Pembroke, lord chamberlain to the king and a noted patron of
the arts, was among the players.
Steve Hobbs, who oversees the Wilton House archive at the Wiltshire
county record office in Trowbridge, described the discovery of the two
short plays as significant.
"These are two masques written in contemporary hand in the early 17th
century. The discovery of their authors as Ben Jonson and Inigo Jones
is particularly exciting as Jones was not known as a playwright."
Archivists are particularly pleased at the discovery as much of the
Herbert family's literature was lost in a fire that destroyed large
parts of the interior in 1647.
According to Mr Williams, Inigo Jones spent almost 20 years at Wilton
after being asked to draw up plans to rebuilt the Tudor house in the
Palladian style that he had introduced to England.
The house, near Salisbury, Wiltshire, had long played host to leading
men of letters-Shakespeare among them.
"This must have been a little bit of fun which he and the various
participants enjoyed in their leisure time," said Mr Williams.
They are at present on display at Wilton House as part of the Van Dyck
exhibition. Van Dyck, who was born 400 years ago this year, was court
painter to Charles I who recommended him to the fourth earl.
In his designs for Wilton, Inigo Jones created what is known as the
DOUBLE CUBE room-a room 60ft long by 30ft high and 30ft wide- around
the huge Van Dyck canvases.>>
-------------------------------------------------------------------
DORMER MASONIC STUDY CIRCLE NO. 53
A BRIEF SKETCH OF FREEMASONRY
By W.Bro.ERNEST H. SHACKLETON, Templars Lodge 4302.
<<All stones spoke to man in the sunrise of Time and a Cube
was a venerated symbol of Truth-being ever true to itself.
In a great many places in England stones-buried for centuries under the
soil, many feet down, have been unearthed with the marking of a Circle
with a Centre-they were in the rough shape of a DOUBLE CUBE, the ground
around them-was hardened as by much perambulating round them and they
are said to be symbols of a religion whose basis was a system of
Astrological theology-these are from the East and on the coming of the
Phoenicians there seems to have been an increase in their use. They have
been found in Northumberland, in Cumberland and in the West Country.
-----------------------------------------------------------------------
Check out Philip/Mary Sydney's PHEON azure crest:
http://www.renaissance.dm.net/heraldry/blazons3.html
http://www.geocities.co.jp/Milano/8947/m455a.gif
<<PHEON, n. A bearing representing the head of a dart or javelin,
with long barbs which are engrailed on the inner edge.>>
This is the same dart shape that appears in the Sonnets dedication:
--------------------------------------------------------------
L A I B I T TIBIAL => Order of Garter
E N D V E S => ENDUES
-------------------------------------------------------------
T O T H E O N L I E B
E G E T T E R O F T H
E S E I N S V I N G S
O N N E T S M r W H A
|L] L H A P[P]I N E S [S|
[E|A] N D T[H]A T E [T|E]
R [N|I] T I[E]P R [O|M] I
S E [D|B] Y[O]V [R|E] V E
R L I [V|I][N][G|P] O E T
W I S H [E||T||H] T H E W
E L L W I S H I N G A
D V E N T U R E R I N
S E T T I N G F O R T H
---------------------------------------------------------------------
Grottoes <= G R O T S {worth of wit}
EMEPH|T| <= |T| H P E M E
----------------------------------------------------------------------
http://www.theosociety.org/pasadena/sd/sd1-2-06.htm
<<Ammon-Ra, the generator, is the secondary aspect of the concealed
deity. Khnoum was adored at Elephanta and Philoe, Ammon at Thebes.
But it is EMEPHT, the One, Supreme Planetary principle, who blows
the egg out of his mouth, and who is Brahma. The shadow of the deity,
Kosmic and universal, of that which broods over and permeates the
egg with its vivifying Spirit until the germ contained in it is ripe,
was the mystery god whose name was unpronounceable. It is Phtah,
however, "he who opens," the opener of life and Death, who proceeds
from the egg of the world to begin his dual work. (Book of Numbers.)
According to the Greeks, the phantom form of the Chemis (Chemi, ancient
Egypt) which floats on the ethereal waves of the Empyrean Sphere, was
called into being by Horus-Apollo, the Sun god, who caused it to evolve
out of the Mundane egg.
In the Scandinavian Cosmogony -- placed by Professor Max Muller, in
point of time, as "far anterior to the Vedas" in the poem of Voluspa
(the song of the prophetess), the Mundane egg is again discovered in the
phantom-germ of the Universe, which is represented as lying in the
Ginnungagap -- the cup of illusion (Maya) the boundless and void abyss.
In this world's matrix, formerly a region of night and desolation,
Nebelheim (the mist-place, the nebular as it is called now, in the
astral light) dropped a ray of cold light which overflowed this cup and
froze in it. Then the Invisible blew a scorching wind which dissolved
the frozen waters and cleared the mist. These waters (chaos), called the
streams of Elivagar, distilling in vivifying drops, fell down and
created the earth and the giant Ymir, who only had "the semblance of
man" (the Heavenly man), and the cow, Audhumla (the "mother" or astral
light, Cosmic Soul) from whose udder flowed four streams of milk (the
four cardinal points: the four heads of the four rivers of Eden, etc.,
etc.) and which "four" allegorically are symbolized by the cube in all
its various and mystical meanings.>>
----------------------------------------------------------------------
_The Templars Are Among Us, or the Enigma of Gisors_, Julliard, Paris.
1962
http://www.memorymap.com/plantard_01.htm
The Nautes [SM: Nautae]
transported the instruments of their art with them, among others a
"double- or triple-faced head", a mathematical rule of proportions, an
image carved according to strict rules from a cube of "the wood of
Mars"; this head often featured that of a ram.
--------------------------------------------------------
KNOXVILLE SCOTTISH RITE TEMPLE
612 16 th Street, Knoxville, TN 37901-USA
http://scottishriteknox.xtn.net/
It's a Knox Kaaba Rubrick:
-----------------------------------------------------------------------------
Milhouse: The Hungarians have built a giant motorized Rubik's cube,
and the fair's symbol is the SunSphere, which sits atop
a 266-foot tall steel shaft.
-------------------------------------------------------------------
http://www.strath.ac.uk/Departments/SocialStudies/RE/Database/Glossaries/Islam/Kaba.html
The Ka’ba: A cube-shaped building in Makka which is the focal point of
Muslim prayer. According to Muslim tradition the Ka'ba was founded by
Adam, rebuilt by Ibrahim and Isma'el and restored by Muhammad. In the
south-east corner wall of the Ka'ba is set the Black Stone which Muslims
believe was received by Isma'el from the angel Gabriel when the Ka'ba
was being rebuilt. The Ka'ba is referred to in the Qur'an as the Sacred
Mosque. During the Hajj it gets a new black covering of silk and wool.
-------------------------------------------------------------------
http://community.webshots.com/photo/1555558/1567132EPounFrRcd
http://ccat.sas.upenn.edu/~brvs/kaaba.html
http://www.encyclopedia.com/articles/06791.html
Kaaba or Caaba Pronounced As: both: käb or käb
[Arab.,=cube], the central, cubic, stone structure,
covered by a black cloth, within the Great Mosque in
Mecca, Saudi Arabia. The sacred nature of the site
predates Islam: tradition says that the Kaaba was built
by Adam and rebuilt by Abraham and the descendants
of Noah. Also known as the House of God, it is the
center of the circumambulations performed during the
hajj, and it is toward the Kaaba that Muslims face in
their prayers (see liturgy, Islamic). Pre-Islamic
Meccans used it as a central shrine housing their
many idols, most notable of which were al-Lat,
al-Uzza, and Manat, collectively known as al-Gharaniq
or the Daughters of God, and Hubal, a martial deity.
The Black Stone, possibly of meteoric origin, is located
at one of its outside corners. Also dating from
pre-Islamic times as a heavenly relic, this stone is
venerated and ritually kissed. Worn hollow by the
centuries of veneration, the stone is held together by a
wide silver band. The actual structure of the Kaaba has
been demolished and rebuilt several times in the
course of its history. Around the Kaaba is a restricted
area, haram, extending in some directions as far as
12 mi, into which only Muslims may enter.
------------------------------------------------------------------
the cube is 2 'cubed' or 8 = and that is the number of C-HETH,
the kabbalistic number of this card but also refers to
the Masonic 'ashlar' or the 'perfect ashlar'.
Neuendorffer
> > > > 33 Decades: 1300 => 1630
> > > > ----------------------------------------------------------------
> > > > Dante enters Hell on Good Friday, 8 April, 1300
> > > > Canto 33: Dante emerges from Hell and
> > > > sees the stars again on Easter Sunday, 10 April, 1300.
> > > >
> > > > http://www.brown.edu/Departments/Italian_Studies/LD/numbers/04/lobner.html
> > > >
> > > > William Herbert was born on Friday, 8 April, 1580.
> > > > William Herbert died of apoplexy on Saturday, 10 April, 1630
> > > > after 13 years as the Freemason Grandmaster.
> > >
> > "David L. Webb" wrote:
> > >
> > > Just out of curiosity, Art, what is your evidence that William
> > > Herbert served thirteen years as "Freemason Grandmaster"?
> > --------------------------------------------------------
> > The Complete Peerage: WILLIAM HERBERT,
> > 3rd Earl of Pembroke, Grand Warden and,
> > 1618, Grandmaster of the Freemasons till his death.
> > He succeeded Inigo Jones, of whom he was a patron.
> --------------------------------------------------------------
>
> <<Two short plays, or masques, co-written by the dramatist Ben Jonson
> and Inigo Jones, the architect and stage designer, were performed at
> court for King Charles I almost 370 years ago. They were unearthed by
> chance in the archives of Wilton House, ancient seat of the earls of
> Pembroke, during research for an exhibition to mark the 400th
> nine of whose paintings hang in the Inigo Jones designed property.
>
> exhibition. VAN DYCK, who was born 400 years ago this year, was court
> painter to Charles I who recommended him to the fourth earl.
>
> In his designs for Wilton, Inigo Jones created what is known as the
> DOUBLE CUBE room-a room 60ft long by 30ft high and 30ft wide- around
------------------------------------------------------------------
http://www.compapp.dcu.ie/~humphrys/FamTree/Herbert/4th.earl.html
Philip Herbert, 4th Earl of Pembroke
(and 1st Earl of Montgomery, K.G., born 16th Oct 1584,
married: 27th Dec 1604, to Susan de Vere
[born 26th May 1587, Susannah Shakspere's 4th birthday]
and had issue:
1.Anna Sophia Herbert,
mar 27th Feb 1625 to Robert Dormer, 2nd Baron Dormer
[cr 1st Earl of Carnarvon 1628]
and had issue, he was killed 1643,
there is a portrait, from the school of VAN DYCK,
of "Anne Herbert, Countess of Carnarvon, died 1694"
in the Great Dining Room at Chatsworth.
----------------------------------------------------------
Southampton's 48th birthday October 6, 1621
Rutland's 45th birthday October 6, 1621
[Montgomery's 37th birthday? October 6, 1621]
----------------------------------------------------------
Registration of Othello on October 6, 1621
"Tho. Walkely] Entered for his, to wit, under the hands of Sir George
Buck and of the Wardens: The Tragedie of Othello, the Moore of Venice."
------------------------------------------------------------------
http://www.yeoldesussexpages.co.uk/sqdining.htm
<<Sir Anthony VAN DYCK(1599-1641) portrait of Henry Percy, 9th Earl of
Northumberland, the 'Wizard Earl' (1564-1632) A scholar and scientist
who spent many years in the Tower after being implicated in the
Gunpowder plot, he is depicted in academical robes in a pose suggesting
wisdom. His alchemical experiments gained him his nickname.>>
------------------------------------------------------
http://www.wsws.org/articles/1999/dec1999/dyck-d01.shtml
<<Most people must be moved when they see the painting of Venetia
Stanley by Anthony VAN DYCK. She seems asleep, her head gently resting
on her hand, but then you see one of her eyes is open in an unnatural
way. You realise she is dead. VAN DYCK, with just black and white paint,
evokes a timeless image of serenity and beauty within death.>>
-----------------------------------------------
http://www.gunpowder-plot.org/d7001/g0000138.htm
Sir Edward STANLEY Of Tonge Castle, Shropshire.
Father: Thomas STANLEY
Mother: Margaret VERNON
Married: Lucy PERCY Died: ABT 1600
Father: Thomas PERCY
Mother: Anne SOMERSET
Child 1 : Frances STANLEY
Child 2 : Venetia Anastasia STANLEY (b. ABT 1600)
--------------------------------------------------------------
The EAGLE and CHILD
Stan(d)-ley <=> Walk-ley
---------------------------------------------------------------------
http://web.uvic.ca/shakespeare/Annex/DraftTxt/Oth/Oth_Q/Oth_Q.html
The
Tragoedy of Othello,
The Moore of Venice.
As it hath beene diverse times acted at the
Globe, and at the Black-Friers, by
his Maiesties Servants,
Written by VVilliam Shakespeare
LONDON,
Printed by N.O. for Thomas Walkley, and are to be sold at his
shop, at the EAGLE and CHILD, in Brittans Bursser. 1622.
---------------------------------------------------------------
Love's Labour's Lost Act 4, Scene 2
HOLOFERNES Fauste, precor gelida quando pecus omne sub umbra
Ruminat,--and so forth. Ah, good old Mantuan! I
may speak of thee as the traveller doth of Venice;
Venetia, Venetia,
Chi non ti vede non ti pretia.
Old Mantuan, old Mantuan! who understandeth thee
not, loves thee not. Ut, re, sol, la, mi, fa.
Under pardon, sir, what are the contents? or rather,
as Horace says in his--What, my soul, verses?
NATHANIEL Ay sir, and very learned.
---------------------------------------------------------------
Viagra, Viagra, who uses thee not, loves not.
---------------------------------------------------------------
<<Vinegia: Venice; L.L.L. iv, 2.
In Ff printed as mere gibberish
('Vemchie,' 'Vencha,' 'Venachi,' 'Venachea'),
and restored by Theobald to 'Vinegia, Vinegia!
qui non te vedi, ei non te pregia,'
or, in the Cambridge edn. 'Venetia, Venetia,
Chi non ti vede non ti pretia.'>> -
In L.L.L. iv, 2 much confusion exists in early edns. between the
speeches of 'Nat.' and 'Hol.' The former is styled 'Master Person,';
it is possible that original pfxs. 'Per.' and 'Ped.' (Pedant) were
inadvertentaly interchanged. In v, 1, the pfxs. 'Cura.' and 'Curat.'
are exclusively used in Ff for N.>> - _Who's who in Shakespeare_
---------------------------------------------------------------
Folio
Nath. Facile precor gellida, quando pecas omnia sub vm-
bra ruminat, and so forth. Ah good old Mantuan, I
may speake of thee as the traueiler doth of Venice, vem-
chie, vencha, que non te vnde, que non te perreche. Old Man-
tuan, old Mantuan. Who vnderstandeth thee not, vt re
sol la mi fa: Vnder pardon sir, What are the contents? or
rather as Horrace sayes in his, What my soule verses.
Hol. I sir, and very learned.
----------------------------------------------------------------
Quarto
Nath. Facile precor gellida, quando pecas omnia sub umbra ru-
minat, and so foorth. Ah good olde Mantuan, I may speake
of thee as the traueiler doth of Venice, vemchie, vencha, que
non te vnde, que non te perreche. Olde Mantuan, olde Mantuan,
Who vnderstandeth thee not, loues thee not, vt re sol la mi fa:
Vnder pardon sir, What are the contentes? or rather as Her-
race sayes in his, What my soule verses.
Hol. I sir, and very learned.
------------------------------------------------------
Venetia, Lady Digby on her Deathbed
http://www.vandyck.co.uk/venetia.html
<<Sir Kenelm, a leading courtier, was grief-stricken after Venetia's
death and immediately entered a long period of withdrawal, during which
he kept VAN DYCK's portrait continually to hand. VAN DYCK also painted
his friend in mourning clothes, accompanied by the attributes of the
melancholic and including emboldening classical quotations. But his
response to Venetia is quite different - unselfconsciously simple and
yet full of feeling. Whereas other painters might have preached or
pointed a moral, VAN DYCK is content to paint the corpse exactly as it
lay, with only the addition of her favourite string of pearls and a dog
rose lying on the sheet cuff, its petals falling away.>>
Venetia, Lady Digby, as Prudence
http://www.mezzo-mondo.com/mm_shop/index.html?target=Van_DyckVan_Dyck_2.html
------------------------------------------------------------
"Agent XX"
http://www.vandyck.co.uk/life.html
<<Among VAN DYCK's close personal friends were the two de Wael brothers,
both Antwerp painters settled in Genoa, the Abbé Scaglia, a Piedmontese
intelligence agent known in diplomatic correspondence as "Agent XX",
the genial French bookseller and art dealer François Langlois and the
eccentric English buccaneer, scientist and philosopher Sir Kenelm Digby.
It was for Digby that he painted the delicate Lady Venetia Digby on her
Deathbed.>>
-----------------------------------------------------------------
"Agent 44"
<<The fantastic drama Dziady (1823-32, Forefathers' Eve).
Part III depicted the martyrdom of Poland and presented a vision
of the future country in which the sufferings are equated
with the Passion of Christ. This vision concludes with a prophecy
about a mysterious future savior of Poland, bearing the name "44.">>
--------------------------------------------------------------------
http://www.bcpl.net/~cbirkmey/cast.html
http://www.bcpl.net/~cbirkmey/agent44.html
<<Agent 44 was a good agent, however, he was consumed with self pity.
Hiding in unusual places was his speciality, but it just seemed to wear
on him greatly. He either was hidden so well that he missed code book
update (Back To The Old Drawing Board) or he was forced to room with
3,000 monkeys (Ship of Spies). Eventually, it would wear on him and
despite his best efforts, 44 would end up crying, embarassing everybody.
Agent 44's Hiding Places
Medicine cabinet in train compartment
Grandfather clock
Sailor's duffelbag
Cello case
Ship's porthole
Cargo hold filled with monkeys
Ship's funnel
A baby in a baby buggy
A lit, wood-burning stove
--------------------------------------------------
http://www.chch.ox.ac.uk/gallery/painters/vandyck.html
The Continence of Scipio
Oil on canvas
<<One of VAN DYCK's most important "history paintings", it was probably
commissioned in 1620-21 by George Villiers, Ist Duke of Buckingham and
favourite of James I. Although it ostensibly represents a classical
subject it is thought to be an allegory of the difficult circumstances
surrounding the marriage of Buckingham to Lady Katherine Manners, and
the figures holding hands are likely to be portraits of the couple. Like
his master Rubens, VAN DYCK had a keen interest in antiquity, and he
invokes the world of ancient Carthage with the inclusion of a Roman
frieze copied from a piece known to have been in the Earl of Arundel's
celebrated collection of antiquities.>>
--------------------------------------------------
http://www.guardian.co.uk/Print/0,3858,3884385,00.html
Monday July 19, 1999 The Guardian
<<A painting in the VAN DYCK exhibition due to open at London's Royal
Academy in September has been misidentified and may not be by the
Flemish master at all, according to an Italian collector who claims to
own the real thing. According to Angiolo Magnelli, a retired Florentine
auctioneer, the painting to be exhibited could well be by Rubens rather
than VAN DYCK, and shows a historical scene completely different from
the one its title gives. The work that visitors to the Royal Academy
will see is The Continence of Scipio, which is owned by Christ Church
college, Oxford. Renaissance and baroque artists liked the romantic
theme of the self-restraint exercised by the young Roman general Scipio.
After capturing part of Spain from Carthage in 209BC, he is supposed to
have won local allegiance by returning a beautiful captive unharmed to
her betrothed, Allucius.
"They have made a huge mistake and I absolutely contest this
identification of the subject," Mr Magnelli said.
What the work from Christ Church actually depicts, he argues, is a
scene, possibly painted by Rubens, from the previous century, in which
Alexander the Great receives peace envoys from the Persian king he
defeated, Darius III. The former auctioneer bought his own Continence of
Scipio at a London art gallery 29 years ago and has spent much of the
time since then studying the two pictures. He is angry that Christ
Church has consistently refused to discuss the matter with him.
"By refusing to recognise the true nature of this work the art experts
are depriving British culture of an extraordinary painting," Mr Magnelli
said. "I challenge them to a public debate and to put the two paintings
on display side by side, so the public can judge."
He has become increasingly fascinated by the Oxford work, which he
concedes is greater and more complex than his own: "My interpretation
makes the Christ Church painting much more interesting and valuable.
It's a work that contains an important cultural message that has lain
dormant for the last four centuries."
Mr Magnelli's painting shows Scipio on the right as he offers the bride
to her betrothed with a gesture of his open hand. Allucius, on the left,
cups his hand to receive that of the bride, while a lictor - a kind of
court runner - looks on from the right, indicating that the action had
the approval of the Roman magistrature.
A similar scene unfolds in the Oxford painting, but according to Mr
Magnelli, the figure on the left is Alexander the Great, and he is not
offering but rejecting the hand of the woman on the right - a daughter
whom Darius is offering, along with territory, in exchange for peace.
Far from being in Carthaginian Spain, says Mr Magnelli, we are in a
ruined Greek temple in the eastern Mediterranean. Next to Alexander's
feet is a marble frieze showing the heads of two Gorgons, and on a large
metal urn opposite is embossed an image of their sister, Medusa - a
symbol of death that would hardly make an appropriate wedding gift.
"The Gorgons are creatures of Greek mythology, while there isn't a trace
of Roman culture in the entire composition," Mr Magnelli said.
The exhibition catalogue says the picture dates from Anthony VAN DYCK's
time in England in 1620-21 and was probably commissioned by George
Villiers, 1st Duke of Buckingham. The subject could refer to his
marriage to Lady Katherine Manners, according to this reading.
For Mr Magnelli, nothing could be further from the truth. The work, he
believes, was almost certainly commissioned by Thomas Howard, Earl of
Arundel, a political rival of Buckingham's, and could not have been
painted in 1620-21 because the marble frieze showing the Gorgon heads
did not arrive in England to join the Arundel collection until about
1627.
The supposed Allucius could not possibly have the features of the Duke
of Buckingham, unless the painting was commissioned by one of his
enemies. As the deceitful ambassador of Darius he is represented with
deformed feet and his tongue is sticking out as though blowing a
raspberry.
The painting "contains a message that is still topical today: that you
cannot destroy other people's culture", Mr Magnelli said. "Alexander
waged war on the Persians because they had destroyed the temples of the
Greeks, but he incorporated the customs of conquered peoples into those
of his army and forbade any damage to the temples when he conquered
Thebes."
Peter Paul Rubens, he argued, "painted it for Arundel in 1629-30,
probably in secret because of the diabolical theme. It constitutes the
political, spiritual and cultural testament of the two men.">>
-----------------------------------------------
Art Neuendorffer