Google Groups no longer supports new Usenet posts or subscriptions. Historical content remains viewable.
Dismiss
What is the name of the painting Cameron stares at?
3 views
Skip to first unread message
Art Neuendorffer
Aug 9, 2004, 12:51:29 PM8/9/04
to
-----------------------------------------------------------------
http://www.clark.net/tross/ws/rep.html#4
http://www.clark.net/tross/ws/rep.html#4
<<Puttenham seems completely unaware of
the existence of public theaters, but is only
concerned
with
performances before the monarch:
That for Tragedy, the Lord of Buckhurst, and Master Edward
Ferrys
for such doings as I have seen of theirs do deserve the highest price:
Th'Earl of Oxford and Master Edwardes
for such doings as I have seen of theirs do deserve the highest price:
Th'Earl of Oxford and Master Edwardes
of her Majesty's Chapel
for Comedy and Interlude.
The oddity on the list is the name "Edward Ferrys." No gentleman of that
name is known to have written plays or even poetry in 16th-Century
England, but an earlier reference in Puttenham sheds some light:
name is known to have written plays or even poetry in 16th-Century
England, but an earlier reference in Puttenham sheds some light:
In king Edward the sixths time ... Edward Ferrys ... wrate for the
most part to the stage, in Tragedy and sometime in Comedy or Interlude,
wherein he gave the king so much good recreation,
most part to the stage, in Tragedy and sometime in Comedy or Interlude,
wherein he gave the king so much good recreation,
as he had thereby many good rewards.
It seems likely that Puttenham is referring to George Ferrers, a
lawyer,
courtier, and poet of the mid-16th Century, who was the Lord of Misrule
(the supervisor of court entertainments) under Edward VI, and who
contributed to court entertainments in Elizabeth's time. Unfortunately,
not one tragedy or other play by George Ferrers is known to us even by
name; however, if we can judge by the extra attention Puttenham devotes
to him, the lost dramatic output of Ferrers was more impressive to
Puttenham than the lost output of Oxford.>>
-------------------------------------------------------------------
Ferris Bueller
courtier, and poet of the mid-16th Century, who was the Lord of Misrule
(the supervisor of court entertainments) under Edward VI, and who
contributed to court entertainments in Elizabeth's time. Unfortunately,
not one tragedy or other play by George Ferrers is known to us even by
name; however, if we can judge by the extra attention Puttenham devotes
to him, the lost dramatic output of Ferrers was more impressive to
Puttenham than the lost output of Oxford.>>
-------------------------------------------------------------------
Ferris Bueller
What is the name of the painting Cameron stares at at the Art
Institute?
It is "Sunday Afternoon on La Grande Jatte" and was by Georges SEURAT
It is "Sunday Afternoon on La Grande Jatte" and was by Georges SEURAT
--------------------------------------------------------
What SEURAT left out of
'La Grande Jatte'
By Amanda Paulson | Staff writer of The Christian Science Monitor
http://csmonitor.com/2004/0709/p13s02-alar.html
http://csmonitor.com/2004/0709/p13s02-alar.html
CHICAGO - The pink-skirted woman was changed from a single
woman to a mother; the bustle on the strolling woman's costume was
exaggerated, and the monkey was a last-minute addition.
woman to a mother; the bustle on the strolling woman's costume was
exaggerated, and the monkey was a last-minute addition.
These are just a few of the surprises visitors take away
from the Art Institute of Chicago's exhibition,
"SEURAT and the Making of 'La Grande Jatte.' "
from the Art Institute of Chicago's exhibition,
"SEURAT and the Making of 'La Grande Jatte.' "
The title, of course, refers to one of the
museum's most beloved paintings: the
enormous, heavily populated tableau of
Sunday loungers on a Paris isle that has
captivated viewers from Stephen
Sondheim to Ferris Bueller.
museum's most beloved paintings: the
enormous, heavily populated tableau of
Sunday loungers on a Paris isle that has
captivated viewers from Stephen
Sondheim to Ferris Bueller.
"Sometimes familiarity is a bit numbing. You think you know
the
picture, but there's a plot to discover," says Douglas Druick,
cocurator of the exhibit. "We tried to construct a process whereby
visitors would come to the realization and appreciation of a picture
we're told is great, and we know is great, but in a way that turns the
head back into heart."
picture, but there's a plot to discover," says Douglas Druick,
cocurator of the exhibit. "We tried to construct a process whereby
visitors would come to the realization and appreciation of a picture
we're told is great, and we know is great, but in a way that turns the
head back into heart."
SEURAT, for many art
historians, is the anti-Impressionist. When "La
Grande Jatte" was first exhibited at the Eighth Impressionist
Exhibition in 1886, everything about the painting - its size, the
extensive preparation that went into it, the almost frozen effect of
the scene - was viewed as a repudiation of Impressionist ideals
such as spontaneity and movement.
Grande Jatte" was first exhibited at the Eighth Impressionist
Exhibition in 1886, everything about the painting - its size, the
extensive preparation that went into it, the almost frozen effect of
the scene - was viewed as a repudiation of Impressionist ideals
such as spontaneity and movement.
One of the striking evolutions in SEURAT's own style is his use of
color. He dropped out of art school after just a year and a half-long
before he'd studied color at all - and his early works are nearly all
crayon sketches. Even in those drawings, SEURAT was less interested
in details than forms, and he strove to achieve a heightened contrast
by placing light and dark areas next to each other.
color. He dropped out of art school after just a year and a half-long
before he'd studied color at all - and his early works are nearly all
crayon sketches. Even in those drawings, SEURAT was less interested
in details than forms, and he strove to achieve a heightened contrast
by placing light and dark areas next to each other.
It was a strategy that he soon carried over into his color
experiments,
learning how complementary colors - blue and orange, or red and
green - can intensify each other, how dabs of primary colors can mix
in the eye of the beholder, and how the light and dark contrasts he'd
worked with in black and white could translate.
learning how complementary colors - blue and orange, or red and
green - can intensify each other, how dabs of primary colors can mix
in the eye of the beholder, and how the light and dark contrasts he'd
worked with in black and white could translate.
Many of his early works are Impressionist, though he was
more
drawn to working-class subjects than his contemporaries were. And
in some of his landscapes, which clearly borrowed Impressionist
subjects and composition, he was already starting to develop his
distinctive pointillist style (a term that, the exhibition explains,
comes from the French word for "stitch" and refers to
the accumulation of paint daubs - many of them horizontal
or vertical strokes - not just a flurry of dots).
drawn to working-class subjects than his contemporaries were. And
in some of his landscapes, which clearly borrowed Impressionist
subjects and composition, he was already starting to develop his
distinctive pointillist style (a term that, the exhibition explains,
comes from the French word for "stitch" and refers to
the accumulation of paint daubs - many of them horizontal
or vertical strokes - not just a flurry of dots).
The climax of the show, of course, is the room devoted to the
final
work, whose full title is "A Sunday on La Grande Jatte (1884)."
work, whose full title is "A Sunday on La Grande Jatte (1884)."
The enormous painting, reframed and reglazed, hangs alone,
while
curved walls display some 40 sketches, studies, and preparatory
paintings. The collection illustrates how SEURAT obsessively worked
over every detail of the scene he'd created, devoting numerous
studies to the landscape, or to individual characters.
curved walls display some 40 sketches, studies, and preparatory
paintings. The collection illustrates how SEURAT obsessively worked
over every detail of the scene he'd created, devoting numerous
studies to the landscape, or to individual characters.
For example, an early version of the woman in the pink skirt
is
childless. Instead, a man approaches her, flirting with her in a
manner she may or may not welcome. Even in that sketch,
childless. Instead, a man approaches her, flirting with her in a
manner she may or may not welcome. Even in that sketch,
there's room for myriad interpretations.
In the final painting, the man is gone,
and the pink-skirted woman leads a small girl by the hand.
and the pink-skirted woman leads a small girl by the hand.
"She and the child are a family unit, and the child with the
white
costume - the most brilliant of all the costumes - stands as a pillar
of innocence amidst adults," notes Druick. Looking at the painting
together with all the studies, he adds, is "like seeing a film, and then
seeing the outtakes on DVD - the shot ending this way, or that way."
costume - the most brilliant of all the costumes - stands as a pillar
of innocence amidst adults," notes Druick. Looking at the painting
together with all the studies, he adds, is "like seeing a film, and then
seeing the outtakes on DVD - the shot ending this way, or that way."
The woman with the monkey, whose oversize bustle creates
an
almost absurd profile, has been described as a "kept woman,"
although only one commentator in SEURAT's day called her that. Her
outfit is very proper and would have been worn by middle-class
women. The speculation is based on the fact that, in paintings,
the appearance of a monkey can symbolize profligacy.
almost absurd profile, has been described as a "kept woman,"
although only one commentator in SEURAT's day called her that. Her
outfit is very proper and would have been worn by middle-class
women. The speculation is based on the fact that, in paintings,
the appearance of a monkey can symbolize profligacy.
This exhibit dances around such theories, choosing instead
to
celebrate the scene's ambiguity. In the end, it's remarkable
as much for its timelessness - the solid, motionless forms
that evoke Greek friezes - as its specificity of time and place.
celebrate the scene's ambiguity. In the end, it's remarkable
as much for its timelessness - the solid, motionless forms
that evoke Greek friezes - as its specificity of time and place.
"It's like a great canvas of the history of social rituals," says
Druick.
"It's lifeless and frozen, and yet of the moment at the same time.
"It's lifeless and frozen, and yet of the moment at the same time.
It invites you to get involved with so many
figures."
---------------------------------------------------------------
A Sunday on La Grande Jatte-1884
http://www.artic.edu/aic/collections/eurptg/28pc_seurat.html
---------------------------------------------------------------
A Sunday on La Grande Jatte-1884
http://www.artic.edu/aic/collections/eurptg/28pc_seurat.html
Oil on canvas, 1884-86; 207.6 x 308 cm;
Helen Birch Bartlett Memorial Collection, 1926.224
Helen Birch Bartlett Memorial Collection, 1926.224
"Bedlam," "scandal," and "hilarity" were among the
epithets
used to describe what is now considered Georges SEURAT's
greatest work, and one of the most remarkable paintings of
the 19th century, when it was first exhibited in Paris. SEURAT
labored extensively over A Sunday on La Grande Jatte-1884,
reworking the original as well as completing numerous
preliminary drawings and oil sketches (the Art Institute has
one such sketch and two drawings). With what resembles
scientific precision, he tackled the issues of color, light, and
form. Inspired by research in optical and color theory, he
juxtaposed tiny dots of colors that, through optical blending,
form a single and, SEURAT believed, more brilliantly luminous
hue in the viewer's eye. To make the experience of the
painting even more intense, he surrounded it with a frame of
painted dots, which in turn he enclosed with a pure white,
wooden frame, which is how the painting is exhibited today.
used to describe what is now considered Georges SEURAT's
greatest work, and one of the most remarkable paintings of
the 19th century, when it was first exhibited in Paris. SEURAT
labored extensively over A Sunday on La Grande Jatte-1884,
reworking the original as well as completing numerous
preliminary drawings and oil sketches (the Art Institute has
one such sketch and two drawings). With what resembles
scientific precision, he tackled the issues of color, light, and
form. Inspired by research in optical and color theory, he
juxtaposed tiny dots of colors that, through optical blending,
form a single and, SEURAT believed, more brilliantly luminous
hue in the viewer's eye. To make the experience of the
painting even more intense, he surrounded it with a frame of
painted dots, which in turn he enclosed with a pure white,
wooden frame, which is how the painting is exhibited today.
--------------------------------------------------------
Text from "Sister Wendy's American Masterpieces":
http://www.artchive.com/artchive/S/seurat/jatte.jpg.html
Text from "Sister Wendy's American Masterpieces":
http://www.artchive.com/artchive/S/seurat/jatte.jpg.html
"SEURAT's Grande Jatte is
one of those rare works of art that stand
alone; its transcendence is instinctively recognized by everyone. What
makes this transcendence so mysterious is that the theme of the work is
not some profound emotion or momentous event, but the most banal of
workaday scenes: Parisians enjoying an afternoon in a local park.
alone; its transcendence is instinctively recognized by everyone. What
makes this transcendence so mysterious is that the theme of the work is
not some profound emotion or momentous event, but the most banal of
workaday scenes: Parisians enjoying an afternoon in a local park.
Stranger still, when he painted it, SEURAT was a mere 25
(with only seven more years to live), a young man with
a scientific theory to prove; this is hardly the recipe for
success.
His theory was optical: the conviction that painting in dots,
known as pointillism would produce a brighter color.
known as pointillism would produce a brighter color.
"SEURAT spent two years
painting this picture, concentrating
painstakingly on the landscape of the park before focusing on the
people; always their shapes, never their personalities. Individuals did
not interest him, only their formal elegance. There is no untidiness in
SEURAT; all is beautifully balanced. The park was quite a noisy place:
painstakingly on the landscape of the park before focusing on the
people; always their shapes, never their personalities. Individuals did
not interest him, only their formal elegance. There is no untidiness in
SEURAT; all is beautifully balanced. The park was quite a noisy place:
a man blows his bugle, children run around, there are dogs. Yet
the
impression we receive is of silence, of control, of nothing disordered.
I think it is this that makes La Grande Jatte so moving to us who live
in such a disordered world: SEURAT's control. There is an intellectual
clarity here that sets him free to paint this small park with an
astonishing poetry. Even if the people in the park are pairs or groups,
they still seem alone in their concision of form - alone but not lonely.
No figure encroaches on another's space: all coexist in peace.
impression we receive is of silence, of control, of nothing disordered.
I think it is this that makes La Grande Jatte so moving to us who live
in such a disordered world: SEURAT's control. There is an intellectual
clarity here that sets him free to paint this small park with an
astonishing poetry. Even if the people in the park are pairs or groups,
they still seem alone in their concision of form - alone but not lonely.
No figure encroaches on another's space: all coexist in peace.
"This is a world both real and unreal - a sacred world. We are
often
harried by life's pressures and its speed, and many of us think at
times: Stop the world, I want to get off! In this painting,
harried by life's pressures and its speed, and many of us think at
times: Stop the world, I want to get off! In this painting,
SEURAT has "stopped
the world," and it reveals itself
as beautiful, sunlit, and silent - it is SEURAT's world,
from which we would never want to get off."
---------------------------------------------------------------
"SAAT RUHE" : (German) sowing peace
SEURAT, HA
ATREUS, HA
"ARETHUSA"
TARA'S HUE
---------------------------------------------------------------
Sondheim! A Choral Celebration - Arranged by Mac Huff
http://www.bellevuechamberchorus.net/Research/20thCentury/Music/SondheimAChoralCelebration.htm
"ARETHUSA"
TARA'S HUE
---------------------------------------------------------------
Sondheim! A Choral Celebration - Arranged by Mac Huff
http://www.bellevuechamberchorus.net/Research/20thCentury/Music/SondheimAChoralCelebration.htm
"Putting it Together" (from Sunday in the Park with George -
1984).
Based on the famous George SEURAT pointillistic painting "A Sunday
Afternoon on the Island of La Grande Jatte", the fictitious story line
concerns George, a painter, who thinks he has to choose between his art
and his lover, Dot, because he feels he cannot balance both in his life.
In the second act George's great-grandson (also an artist) comes back to
the island with similar problems. "Putting it Together" is sung by
George (the great-grandson) at a cocktail party after a showing of his
latest work on the island, and describes the challenges of achieving
Based on the famous George SEURAT pointillistic painting "A Sunday
Afternoon on the Island of La Grande Jatte", the fictitious story line
concerns George, a painter, who thinks he has to choose between his art
and his lover, Dot, because he feels he cannot balance both in his life.
In the second act George's great-grandson (also an artist) comes back to
the island with similar problems. "Putting it Together" is sung by
George (the great-grandson) at a cocktail party after a showing of his
latest work on the island, and describes the challenges of achieving
an artistic vision and making the right personal connections
to promote his art.
<<When Stephen Sondheim adapted Aristophanes'
Frogs
for a performance in the Yale swimming pool in 1974,
the "Brek-ek-ek-ex co-ax co-ax," chant was familiar
to Yale students; the croaking chorus was sung
while Charon was rowing Dionysus across the pool.>>
for a performance in the Yale swimming pool in 1974,
the "Brek-ek-ek-ex co-ax co-ax," chant was familiar
to Yale students; the croaking chorus was sung
while Charon was rowing Dionysus across the pool.>>
"Comedy Tonight" (from A Funny Thing Happened on the Way to the
Forum
-1962) - Based on the plays of the Greek playwright Plautus, the show
portrays the farcical story of a young hero, named Hero, who has fallen
in love with a COURTESAN. He enlists his conniving slave, Pseudolos, to
get the girl for him in exchange for his freedom. "Comedy Tonight" is
the opening number, performed in the classical manner of a Greek
-1962) - Based on the plays of the Greek playwright Plautus, the show
portrays the farcical story of a young hero, named Hero, who has fallen
in love with a COURTESAN. He enlists his conniving slave, Pseudolos, to
get the girl for him in exchange for his freedom. "Comedy Tonight" is
the opening number, performed in the classical manner of a Greek
chorus commenting on the action that is about to ensue, and is sung
by Prologus (who becomes Pseudolos) and the
Proteans.
------------------------------------------------------------
"ARETHUSA"
"SATURA HÊ" : (Latin) SATIRE, of a COURTESAN
------------------------------------------------------------
"ARETHUSA"
"SATURA HÊ" : (Latin) SATIRE, of a COURTESAN
Eugenio Montale's _SATURA_
http://www.wwnorton.com/catalog/fall99/satura.htm
http://www.wwnorton.com/catalog/fall99/satura.htm
"One can read SATURA as an elegy for Western Literary
Modernism
itself, for the passing of a great era."-Harold Bloom
itself, for the passing of a great era."-Harold Bloom
SATURA Prize (for
poetry)
http://www.friendlystreetpoets.org.au/satura.htm
--------------------------------------------------
http://smithpp0.tripod.com/psp/id17.html
.
_ET IN ARCADIA EGO_ by Paul Smith.
.
The first appearance of the 'Tomb in Arcadia'
appeared in Virgil's Eclogues V, 42ff:
.
"A lasting monument to Daphnis raise
With this inscription to record his praise;
http://www.friendlystreetpoets.org.au/satura.htm
--------------------------------------------------
http://smithpp0.tripod.com/psp/id17.html
.
_ET IN ARCADIA EGO_ by Paul Smith.
.
The first appearance of the 'Tomb in Arcadia'
appeared in Virgil's Eclogues V, 42ff:
.
"A lasting monument to Daphnis raise
With this inscription to record his praise;
'Daphnis, the fields' delight, the shepherds' love,
Renown'd on earth and deifi'd above;
Whose flocks excelled the fairest on the plains,
But less than he himself surpassed the swains."
Renown'd on earth and deifi'd above;
Whose flocks excelled the fairest on the plains,
But less than he himself surpassed the swains."
1590s Sir Philip
Sidney,
The Countess of Pembroke's Arcadia.
Mary Sidney, Countess of Pembroke,
The Countess of Pembroke's Arcadia.
Mary Sidney, Countess of Pembroke,
A Dialogue betweene two Shepheards,
Thenot and Piers, in praise of Astrea.
Thenot and Piers, in praise of Astrea.
The bas-relief of Les Bergers d'Arcadie was executed
by Léon Vaudoyer (1803-1872), whilst the bust of
Poussin, above it, is signed "P. Lemoyne".
.
1832 Jean Pierre Jacques Auguste de Labouisse-Rochefort,
Voyages à Rennes-les-Bains, containing the opening words
"From your happy Alphaeus, Oh darling ARETHUSA!"
(possibly written in 1803). Labouisse-Rochefort compared
the landscape of Rennes-les-Bains with Arcadia.
--------------------------------------------------------------
Phantom of the Opera - Gaston Leroux
Chapter V: A Visit to Box Five
by Léon Vaudoyer (1803-1872), whilst the bust of
Poussin, above it, is signed "P. Lemoyne".
.
1832 Jean Pierre Jacques Auguste de Labouisse-Rochefort,
Voyages à Rennes-les-Bains, containing the opening words
"From your happy Alphaeus, Oh darling ARETHUSA!"
(possibly written in 1803). Labouisse-Rochefort compared
the landscape of Rennes-les-Bains with Arcadia.
--------------------------------------------------------------
Phantom of the Opera - Gaston Leroux
Chapter V: A Visit to Box Five
Right on top of the cliff, lost in M. Lenepveu's copper ceiling,
figures grinned and grimaced, laughed and jeered at MM. Richard
and Moncharmin's distress. And yet these figures were usually
VERy serious. Their names were Isis, Amphitrite, Hebe,
Pandora, Psyche, Thetis, Pomona, Daphne, Clytie, Galatea
and ARETHUSA. Yes, ARETHUSA herself and Pandora,
whom we all know by her box, looked down upon the two new
managers of the Opera, who ended by clutching at some piece of
wreckage and from there stared silently at Box Five on the grand TIER.
-----------------------------------------------------------------
"ARETHUSA"
"THRU A SEA"
---------------------------------------------------------------------------
P. Ovidius Naso, Metamorphoses (ed. Arthur Golding)
The Story of [A]RETHUSE & [A]LPHEYS
---------------------------------------------------------------------------
http://plants.usda.gov/cgi_bin/plant_profile.cgi?symbol=ARBU&photoID=arbu_3v
.jpg
http://www.mcs.drexel.edu/~crorres/Archimedes/Coins/Arethusa.html
figures grinned and grimaced, laughed and jeered at MM. Richard
and Moncharmin's distress. And yet these figures were usually
VERy serious. Their names were Isis, Amphitrite, Hebe,
Pandora, Psyche, Thetis, Pomona, Daphne, Clytie, Galatea
and ARETHUSA. Yes, ARETHUSA herself and Pandora,
whom we all know by her box, looked down upon the two new
managers of the Opera, who ended by clutching at some piece of
wreckage and from there stared silently at Box Five on the grand TIER.
-----------------------------------------------------------------
"ARETHUSA"
"THRU A SEA"
---------------------------------------------------------------------------
P. Ovidius Naso, Metamorphoses (ed. Arthur Golding)
The Story of [A]RETHUSE & [A]LPHEYS
---------------------------------------------------------------------------
http://plants.usda.gov/cgi_bin/plant_profile.cgi?symbol=ARBU&photoID=arbu_3v
.jpg
http://www.mcs.drexel.edu/~crorres/Archimedes/Coins/Arethusa.html
<<Ancient Syracusan coins featuring the image of [A]RETHUS[A]
, patron
nymph of Syracuse. ARETHUSA was a naiad (a water nymph) who frolicked in
the vicinity of Olympia and who was desired and pursued by the river-god
[A]lpheios. She appealed for assistance from Artemis, goddess of the
moon & hunt and the protector of women (the Roman Diana). Aretemis
transformed her into *an underground stream* emerging as a freshwater
spring on the Sicilian island of Ortygia, the future site of Syracuse.
Undaunted, [A]lpheios diverted his river's flow underground to
follow [A]RETHUS[A], and both of their waters now mingle
eternally in the Fountain of [A]RETHUS[A] in Ortygia.
nymph of Syracuse. ARETHUSA was a naiad (a water nymph) who frolicked in
the vicinity of Olympia and who was desired and pursued by the river-god
[A]lpheios. She appealed for assistance from Artemis, goddess of the
moon & hunt and the protector of women (the Roman Diana). Aretemis
transformed her into *an underground stream* emerging as a freshwater
spring on the Sicilian island of Ortygia, the future site of Syracuse.
Undaunted, [A]lpheios diverted his river's flow underground to
follow [A]RETHUS[A], and both of their waters now mingle
eternally in the Fountain of [A]RETHUS[A] in Ortygia.
Aeneid -
Virgil ** BOOK III
There lies an isle once call'd th' Ortygian
land.
ALPHeus, as old fame reports, has found
From Greece a secret passage under ground,
By love to beauteous [A]RETHUS[A] led;
And, mingling here, they roll in the same sacred bed.
ALPHeus, as old fame reports, has found
From Greece a secret passage under ground,
By love to beauteous [A]RETHUS[A] led;
And, mingling here, they roll in the same sacred bed.
[A]RETHUS[A]'s image on coins is usually
accompanied by dolphins, which
were common in the sea around Ortygia in classical times. The coins of
ARETHUSA are arguably the most beautiful minted by the ancient Greeks.
---------------------------------------------------------------
"ARETHUSA"
TRUE'S AHA
-----------------------------------------------------------------------
Bleak House by Charles Dickens ** CHAPTER XLIII
were common in the sea around Ortygia in classical times. The coins of
ARETHUSA are arguably the most beautiful minted by the ancient Greeks.
---------------------------------------------------------------
"ARETHUSA"
TRUE'S AHA
-----------------------------------------------------------------------
Bleak House by Charles Dickens ** CHAPTER XLIII
"This," said Mr. Skimpole, "is my Beauty daughter, ARETHUSA--plays
and sings odds and ends like her father. This is my Sentiment
daughter, LAURA--plays a little but don't sing. This is my
Comedy daughter, Kitty--sings a little but don't play.
We all draw a little and compose a little,
and none of us have any idea of time or money."
and sings odds and ends like her father. This is my Sentiment
daughter, LAURA--plays a little but don't sing. This is my
Comedy daughter, Kitty--sings a little but don't play.
We all draw a little and compose a little,
and none of us have any idea of time or money."
"That bad man!" said the Comedy daughter.
"At the VERy time when he knew papa was lying ill by his
wallflowers, looking at the blue sky," Laura complained.
"And when the smell of HAY was in the air!" said ARETHUSA.
"It showed a want of poetry in the man," Mr. Skimpole assented,
-----------------------------------------------------------
Othello, The Moor of Venice Act 1, Scene 3
"At the VERy time when he knew papa was lying ill by his
wallflowers, looking at the blue sky," Laura complained.
"And when the smell of HAY was in the air!" said ARETHUSA.
"It showed a want of poetry in the man," Mr. Skimpole assented,
-----------------------------------------------------------
Othello, The Moor of Venice Act 1, Scene 3
IAGO Virtue! a fig! 'tis in ourselves that we ARE THUS
or thus. Our bodies are our gardens, to the which
our wills are gardeners: so that if we will plant
nettles, or sow lettuce, set hyssop and weed up
thyme, supply it with one gender of herbs, or
distract it with many, either to have it sterile
with idleness, or manured with industry, why, the
power and corrigible authority of this lies in our
wills. If the balance of our lives had not one
scale of reason to poise another of sensuality, the
blood and baseness of our natures would conduct us
to most preposterous conclusions: but we have
reason to cool our raging motions, our carnal
stings, our unbitted lusts, whereof I take this
that you call love to be a sect or scion.
or thus. Our bodies are our gardens, to the which
our wills are gardeners: so that if we will plant
nettles, or sow lettuce, set hyssop and weed up
thyme, supply it with one gender of herbs, or
distract it with many, either to have it sterile
with idleness, or manured with industry, why, the
power and corrigible authority of this lies in our
wills. If the balance of our lives had not one
scale of reason to poise another of sensuality, the
blood and baseness of our natures would conduct us
to most preposterous conclusions: but we have
reason to cool our raging motions, our carnal
stings, our unbitted lusts, whereof I take this
that you call love to be a sect or scion.
Act 2, Scene 3
OTHELLO How comes it, Michael, you ARE THUS
forgot?
------------------------------------------------------------
Much Ado About Nothing Act 5, Scene 1
------------------------------------------------------------
Much Ado About Nothing Act 5, Scene 1
DON PEDRO: Who have you offended, masters, that you ARE THUS
bound to your answer? this learned constable is
too cunning to be understood: what's your offence?
-----------------------------------------------------------
King Henry VI, Part iii Act 1, Scene 2
bound to your answer? this learned constable is
too cunning to be understood: what's your offence?
-----------------------------------------------------------
King Henry VI, Part iii Act 1, Scene 2
YORK You Edward, shall unto my Lord Cobham,
With whom the Kentishmen will willingly rise:
In them I trust; for they are soldiers,
Witty, courteous, liberal, full of spirit.
While you ARE THUS employ'd, what resteth more,
But that I seek occasion how to rise,
And yet the king not privy to my drift,
Nor any of the house of Lancaster?
With whom the Kentishmen will willingly rise:
In them I trust; for they are soldiers,
Witty, courteous, liberal, full of spirit.
While you ARE THUS employ'd, what resteth more,
But that I seek occasion how to rise,
And yet the king not privy to my drift,
Nor any of the house of Lancaster?
[Enter a Messenger]
But, stay: what news? Why comest thou in such
post?
--------------------------------------------------------------
The Winter's Tale Act 2, Scene 3
--------------------------------------------------------------
The Winter's Tale Act 2, Scene 3
PAULINA: You, that ARE THUS so tender O'ER his
follies,
Will nEVER do him good, not one of you.
--------------------------------------------------------------
http://www.fbrt.org.uk/pages/essays/essay-ciphers.html
Will nEVER do him good, not one of you.
--------------------------------------------------------------
http://www.fbrt.org.uk/pages/essays/essay-ciphers.html
<<'AA' is an important signature of the Rosicrucian
fraternity,
used since the time of the Ancient Egyptians.>>
--------------------------------------------------------------
"AA NEFER" was bull :-) in which
the soul of Osiris was said to be incarnated!
[Larousse Encyclopedia of Mythology p.44]
---------------------------------------------------------------
The DOUBLE AA (_Folio_) headpiece:
used since the time of the Ancient Egyptians.>>
--------------------------------------------------------------
"AA NEFER" was bull :-) in which
the soul of Osiris was said to be incarnated!
[Larousse Encyclopedia of Mythology p.44]
---------------------------------------------------------------
The DOUBLE AA (_Folio_) headpiece:
Vpon the Lines and
Life of the Famous
Scenicke Poet, Master WILLIAM SHAKESPEARE. - H.H.
---------------------------------------------------------------
The DOUBLE AA (_Faerie Queene_) headpiece.
http://fly.hiwaay.net/~paul/aa/alpha.html
--------------------------------------------------------------------
<<The History of the Order of the Amaranth dates back to the time of
the Reign of Christina, Queen of Sweden, in the year 1653. Christina
was the only daughter of GUSTAVUS Adolphus (1594-1632) King of Sweden.
Scenicke Poet, Master WILLIAM SHAKESPEARE. - H.H.
---------------------------------------------------------------
The DOUBLE AA (_Faerie Queene_) headpiece.
http://fly.hiwaay.net/~paul/aa/alpha.html
--------------------------------------------------------------------
<<The History of the Order of the Amaranth dates back to the time of
the Reign of Christina, Queen of Sweden, in the year 1653. Christina
was the only daughter of GUSTAVUS Adolphus (1594-1632) King of Sweden.
[The Order of the Amaranth is a fraternal organization composed
of
Master Masons and their properly qualified female relatives.]
Master Masons and their properly qualified female relatives.]
Records show that Queen Christina created the order of the
Amaranth,
to honour the Lady [A]marant[A]...The Jewel was about the size of a
half-a-crown, (English money) or the size of an American silver Dollar,
it was made of Gold, with a Round Wreath wrought and enameled like a
Laurel, and in the centre two letters in the form of an A, reversed, &
set with a cluster of Diamonds. The 2 A's represented the First & Last
letters of the name [A]marant[A], and about the wreath was written
"dolco nella memoria" which means "sweet is the memory".>>
--------------------------------------------------------------
The DOUBLE AA (_Venus & Adonis_) headpiece:
http://fly.hiwaay.net/~paul/new.html
---------------------------------------------------------------
<http://www.sirbacon.org/aasonnet%20copy.gif>
<http://odur.let.rug.nl/~usa/D/1501-1600/hakluyt/plant.htm>
<http://www.bartleby.com/3/1/33.html#txt7>
to honour the Lady [A]marant[A]...The Jewel was about the size of a
half-a-crown, (English money) or the size of an American silver Dollar,
it was made of Gold, with a Round Wreath wrought and enameled like a
Laurel, and in the centre two letters in the form of an A, reversed, &
set with a cluster of Diamonds. The 2 A's represented the First & Last
letters of the name [A]marant[A], and about the wreath was written
"dolco nella memoria" which means "sweet is the memory".>>
--------------------------------------------------------------
The DOUBLE AA (_Venus & Adonis_) headpiece:
http://fly.hiwaay.net/~paul/new.html
---------------------------------------------------------------
<http://www.sirbacon.org/aasonnet%20copy.gif>
<http://odur.let.rug.nl/~usa/D/1501-1600/hakluyt/plant.htm>
<http://www.bartleby.com/3/1/33.html#txt7>
<<In this elaborate frontispiece from 'Generall Historie,'
Elizabeth
as Virginia is in the left panel wearing a crown with breasts bared
as the symbol of her virginity. The three royals are Anne, James and
Charles. Bacon's double AA symbol from the double AA headpieces
in the Shakespeare works is represented in a crown
decorating one of the 'General Historie' maps.
as Virginia is in the left panel wearing a crown with breasts bared
as the symbol of her virginity. The three royals are Anne, James and
Charles. Bacon's double AA symbol from the double AA headpieces
in the Shakespeare works is represented in a crown
decorating one of the 'General Historie' maps.
'Hidden forms of the light and dark "A A" device present themselves
in
even stranger places, such as within the crown of the royal insignia,
in one of the maps from Captain John Smith's 'Generall Historie of
Virginia, New England and the Summer Isles (1624).' Later editions of
this book restore the royal insignia back to it's proper form, making
this a unique occurrence of this artifact. An image of this device is
pictured below. The dark "A" is turned upside down to avoid notice>>
even stranger places, such as within the crown of the royal insignia,
in one of the maps from Captain John Smith's 'Generall Historie of
Virginia, New England and the Summer Isles (1624).' Later editions of
this book restore the royal insignia back to it's proper form, making
this a unique occurrence of this artifact. An image of this device is
pictured below. The dark "A" is turned upside down to avoid notice>>
<http://www.all-things-bacon.com/gifs/oak.ht1.gif>
<http://www.all-things-bacon.com/gifs/snailkiss.gif>
<http://www.all-things-bacon.com/intro.html>
-------------------------------------------------------------
A = alpha/aleph = bull/ox
A = "stream" (Danish)
<http://www.all-things-bacon.com/gifs/snailkiss.gif>
<http://www.all-things-bacon.com/intro.html>
-------------------------------------------------------------
A = alpha/aleph = bull/ox
A = "stream" (Danish)
A-A = OX-Ford =
Bull-beck
---------------------------------------------------------------
[A]lice's [A]dventures underground
A A => "underground stream"
------------------------------------------------------------------
http://volcano.und.nodak.edu/vwdocs/vwlessons/lava.html
There are three types of lava and lava flows:
pillow, pahoehoe, and *AA*
---------------------------------------------------------------
[A]lice's [A]dventures underground
A A => "underground stream"
------------------------------------------------------------------
http://volcano.und.nodak.edu/vwdocs/vwlessons/lava.html
There are three types of lava and lava flows:
pillow, pahoehoe, and *AA*
*AA* is characterized by a rough,
jagged,
spinose, and generally clinkery surface.
---------------------------------------------------------------------
Ennosigee feu du CENTRE DE TERRE,
Fera trembler autour de cité NEUUE
Deux grâds rochers long têps feront la guerre,
Puis Arethuse rougira nouueau fleuue.
spinose, and generally clinkery surface.
---------------------------------------------------------------------
Ennosigee feu du CENTRE DE TERRE,
Fera trembler autour de cité NEUUE
Deux grâds rochers long têps feront la guerre,
Puis Arethuse rougira nouueau fleuue.
Nostradamus 1.87
** Earthshaking fire from the centre of the EARTH will
cause
tremors around the New City. Two great rocks will war
for a long time, then [A]RETHUS[A] will redden a new river.
---------------------------------------------------------------
"ARETHUSA"
"EARTH:USA"
--------------------------------------------------------------------------
Religio Medici - Thomas Browne
tremors around the New City. Two great rocks will war
for a long time, then [A]RETHUS[A] will redden a new river.
---------------------------------------------------------------
"ARETHUSA"
"EARTH:USA"
--------------------------------------------------------------------------
Religio Medici - Thomas Browne
<<Heresies perish not with their Authors, but, like the
river
[A]RETHUS[A], though they lose their currents in one place,
they rise up again in another.>>
---------------------------------------------------------------------
<<" [A]RCADI[A] was known as the source of the River ALPHaeus,
the "underground stream" which figures prominently
in Coleridge's poetry & in esoteric literature.>>
[A]RETHUS[A], though they lose their currents in one place,
they rise up again in another.>>
---------------------------------------------------------------------
<<" [A]RCADI[A] was known as the source of the River ALPHaeus,
the "underground stream" which figures prominently
in Coleridge's poetry & in esoteric literature.>>
"Where ALPH, the sacred river,
ran
Through caverns measureless to man
Down to a sunless sea."
-----------------------------------------------------------------
"(S)ALEPH" River => "OX" Ford 10/6
Through caverns measureless to man
Down to a sunless sea."
-----------------------------------------------------------------
"(S)ALEPH" River => "OX" Ford 10/6
----------------------------------------------------------------
FREDERICK Barbarossa drowns under the weight of his own armor
in the SALEPH river on June 10, 1190
FREDERICK Barbarossa drowns under the weight of his own armor
in the SALEPH river on June 10, 1190
EXACTLY 45 years after his meetings with BREAKSPEAR (Pope Adrian
IV)
-----------------------------------------------------------------
Measure for Measure Act 3, Scene 1
-----------------------------------------------------------------
Measure for Measure Act 3, Scene 1
DUKE. Virtue is bold, and goodness never fearful. Have you
not
heard speak of MARIANA, the sister of FREDERICK,
the great soldier who miscarried at sea?
heard speak of MARIANA, the sister of FREDERICK,
the great soldier who miscarried at sea?
The Comedy of
Errors Act 3, Scene 1
DROMIO OF EPHESUS Maud,
BRIDGET, (=>
BRIDGET)
MARIAN, CICEL, (=> CECIL)
Gillian, GINN! (=> "children of fire having
the power of assuming various formes")
----------------------------------------------------------------------
http://fly.hiwaay.net/~paul/aa/alpha.html
MARIAN, CICEL, (=> CECIL)
Gillian, GINN! (=> "children of fire having
the power of assuming various formes")
----------------------------------------------------------------------
http://fly.hiwaay.net/~paul/aa/alpha.html
<<The BOAR, a symbol of Apollo, the divine SWINEHERD,
is said to imprint the ground with the sign of 'AA'..."
is said to imprint the ground with the sign of 'AA'..."
Bacon, from his "Masculine Birth of
Time"...
"Why, even country bumpkins have proverbs
which are apt expressions of TRUTH.
"Why, even country bumpkins have proverbs
which are apt expressions of TRUTH.
A PIG might print the letter A with his snout in the mud, but
you
would not on that account expect it to go on to compose a tragedy.">>
---------------------------------------------------------------------
Odyssey - Homer (tr. Samuel Butler) BOOK XIII
would not on that account expect it to go on to compose a tragedy.">>
---------------------------------------------------------------------
Odyssey - Homer (tr. Samuel Butler) BOOK XIII
"Go at once to the SWINEHERD
who is in charge of your PIGS; he has
been always well affected towards you, and is devoted to Penelope
and your son; you will find him feeding his PIGS near the
rock that is called RAVEN by the fountain [A]RETHUS[A]"
--------------------------------------------------------------------
Euripides - IPHIGENIA AT AULIS - translated by E. P. Coleridge
been always well affected towards you, and is devoted to Penelope
and your son; you will find him feeding his PIGS near the
rock that is called RAVEN by the fountain [A]RETHUS[A]"
--------------------------------------------------------------------
Euripides - IPHIGENIA AT AULIS - translated by E. P. Coleridge
Enter
CHORUS OF WOMEN OF CHALCIS.
To the sandy beach of sea-coast Aulis I came after a
voyage
through the tides of Euripus, leaving Chalcis on its narrow firth,
my city which feedeth the waters of far-famed [A]RETHUS[A] near the sea,
-----------------------------------------------------------------------
Moby Dick - Melville CHAPTER 41
through the tides of Euripus, leaving Chalcis on its narrow firth,
my city which feedeth the waters of far-famed [A]RETHUS[A] near the sea,
-----------------------------------------------------------------------
Moby Dick - Melville CHAPTER 41
<<It has been believed by some whalemen, that the Nor' West
Passage,
so long a problem to man, was never a problem to the whale.
So that here, in the real living experience of living men,
the prodigies related in old times of the inland Strello mountain
in Portugal (near whose top there was said to be a lake in which the
wrecks of ships floated up to the surface); and that still more
wonderful story of the [A]RETHUS[A] fountain near Syracuse
(whose waters were believed to have come from the Holy Land by
an underground passage); these fabulous narrations are almost
fully equalled by the realities of the whalemen.>>
--------------------------------------------------------------------
Sir Laurence Gardner
Nexus Magazine, Volume 6, Number 5 (August-September 1999).
so long a problem to man, was never a problem to the whale.
So that here, in the real living experience of living men,
the prodigies related in old times of the inland Strello mountain
in Portugal (near whose top there was said to be a lake in which the
wrecks of ships floated up to the surface); and that still more
wonderful story of the [A]RETHUS[A] fountain near Syracuse
(whose waters were believed to have come from the Holy Land by
an underground passage); these fabulous narrations are almost
fully equalled by the realities of the whalemen.>>
--------------------------------------------------------------------
Sir Laurence Gardner
Nexus Magazine, Volume 6, Number 5 (August-September 1999).
<<The Church held such enormous financial, political and
military
power that the Grail adherents became an "underground stream",living
in fear of their lives at every turn. They were not only heretics:
they were singled out for punishment as sorcerers and necromancers.
And since they did not conform to papal dictates, Satanists!>>
power that the Grail adherents became an "underground stream",living
in fear of their lives at every turn. They were not only heretics:
they were singled out for punishment as sorcerers and necromancers.
And since they did not conform to papal dictates, Satanists!>>
<<In William Shakespeare's A Midsummer Night's Dream, the Queen of
the
Fairies is Titania, whose name represents the pre-Olympian god-race of
the Titans. In particular, she is the Moon Goddess Diana. Their king,
Oberon, however, had an historical base, being inspired by an ancestor
of Shakespeare's colleague Edward de Vere, 17th Earl of Oxford.
He was a founding member of Elizabeth Tudor's 16th-century Court
Poetry & Magic Syndicate - along with Francis Bacon, John Dee,
Edmund Spenser and others of the Rosicrucian "underground stream"
who aided and guided much of Shakespeare's work.
Fairies is Titania, whose name represents the pre-Olympian god-race of
the Titans. In particular, she is the Moon Goddess Diana. Their king,
Oberon, however, had an historical base, being inspired by an ancestor
of Shakespeare's colleague Edward de Vere, 17th Earl of Oxford.
He was a founding member of Elizabeth Tudor's 16th-century Court
Poetry & Magic Syndicate - along with Francis Bacon, John Dee,
Edmund Spenser and others of the Rosicrucian "underground stream"
who aided and guided much of Shakespeare's work.
Edward de Vere was, at that time, Lord High Chancellor of
England
- as had been many generations of his forebears, including Albrey,
the 12th-century Prince of Anjou & Guisnes, whose titular name,
Albe-Righ, meant Elf King. Despite their loyalty to Elizabeth,
the Syndicate knew that the House of Tudor had no prior right
to the English throne, having simply taken it, by might
of the sword, from the preceding House of Plantagenet.
- as had been many generations of his forebears, including Albrey,
the 12th-century Prince of Anjou & Guisnes, whose titular name,
Albe-Righ, meant Elf King. Despite their loyalty to Elizabeth,
the Syndicate knew that the House of Tudor had no prior right
to the English throne, having simply taken it, by might
of the sword, from the preceding House of Plantagenet.
That apart, the Plantagenets themselves were a junior branch of
the
House of Anjou, whose senior branch was the House of Vere. Indeed,
in 1861, the noted royal historian Baron Thomas Babington Macaulay
described the Veres as "the longest and most illustrious line of
nobles that England has ever seen". Their ancestry was jointly
Pictish and Merovingian, descending from the ancient Grail House
of Scythia. Here was a true kingly line of the Elven
Race, and it was for this reason that Oberon (a variant of
Aubrey/Albrey, the historical Elf King) became Shakespeare's
King of the Fairies. Such was the translatory nature of all
Rosicrucian symbology, whether portrayed in stories, artwork,
watermarks or the Tarot.
House of Anjou, whose senior branch was the House of Vere. Indeed,
in 1861, the noted royal historian Baron Thomas Babington Macaulay
described the Veres as "the longest and most illustrious line of
nobles that England has ever seen". Their ancestry was jointly
Pictish and Merovingian, descending from the ancient Grail House
of Scythia. Here was a true kingly line of the Elven
Race, and it was for this reason that Oberon (a variant of
Aubrey/Albrey, the historical Elf King) became Shakespeare's
King of the Fairies. Such was the translatory nature of all
Rosicrucian symbology, whether portrayed in stories, artwork,
watermarks or the Tarot.
Some time earlier, in 1408, Edward de Vere's ancestor, Richard
(Lord
Chamberlain and 11th Earl of Oxford), had been invested as a Knight of
the Garter by King Henry IV at Windsor Castle. Also invested at the same
time was King Sigismund of Hungary, who had revived the ancient
Chamberlain and 11th Earl of Oxford), had been invested as a Knight of
the Garter by King Henry IV at Windsor Castle. Also invested at the same
time was King Sigismund of Hungary, who had revived the ancient
Egyptian Order of the Dragon - within which Richard de Vere
held the hereditary distinction of Lord Draconis.
One way or another, the nursery tales which emanated from
the
"underground stream" were stories of lost brides & usurped kingship -
based upon the subjugation of the Grail Bloodline
by the Church of Rome and, in later times,
by the sectarian Puritans of the Protestant movement.>>
-----------------------------------------------------------------
EDWARD BEAR & the SWAN named POOH
"underground stream" were stories of lost brides & usurped kingship -
based upon the subjugation of the Grail Bloodline
by the Church of Rome and, in later times,
by the sectarian Puritans of the Protestant movement.>>
-----------------------------------------------------------------
EDWARD BEAR & the SWAN named POOH
<<If you happen to have read another book about Christopher Robin,
you
may remember that he once had a SWAN (or the SWAN had Christopher Robin,
I don't know which) and that he used to call this SWAN Pooh. That was a
long time ago, and when we said good-bye, we took the name with us, as
we didn't think the SWAN would want it any more. Well, when EDWARD BEAR
said that he would like an exciting name all to himself, Christopher
Robin said at once, without stopping to think, that he was
Winnie-the-Pooh. And he was.>> -- A.A. Milne
--------------------------------------------------------------
"ARETHUSA"
"URSA HEAT"
---------------------------------------------------------------------
PEOPLE OF THE BEAR
may remember that he once had a SWAN (or the SWAN had Christopher Robin,
I don't know which) and that he used to call this SWAN Pooh. That was a
long time ago, and when we said good-bye, we took the name with us, as
we didn't think the SWAN would want it any more. Well, when EDWARD BEAR
said that he would like an exciting name all to himself, Christopher
Robin said at once, without stopping to think, that he was
Winnie-the-Pooh. And he was.>> -- A.A. Milne
--------------------------------------------------------------
"ARETHUSA"
"URSA HEAT"
---------------------------------------------------------------------
PEOPLE OF THE BEAR
Edmund: My father compounded with my mother under the DRAGON'S
TAIL;
and my nativity was under URSA MAJOR;
---------------------------------------------------------------------
http://www.dreamscape.com/morgana/metis.htm
and my nativity was under URSA MAJOR;
---------------------------------------------------------------------
http://www.dreamscape.com/morgana/metis.htm
<<The Sicambrians, ancestors of the Franks, were known as the
"PEOPLE
OF THE BEAR" for their worship of the BEAR-goddess [A]RDUIN[A]. The word
"[A]RCADI[A]" comes from Arkas, patron god of that area of Greece, the
son of the nymph Callisto, sister of the huntress Artemis. Callisto's
constellation is also known to many as URSA MAJOR, the Great BEAR. The
name "Arthur" comes from the Celtic arth, related to "Ursus" -- namely,
"BEAR." In legend, the Merovingians were said to be descended from the
Trojans, and Homer reports that Troy was founded by a colony of
Arcadians. The "Prieure documents" claim that the Arcadians were
descended from BENjamites driven out of Palestine by their fellow
Israelites for idolatry. "[A]RCADI[A]" was also known as the source of
the River ALPHaeus, the "underground stream" which figures prominently
in Coleridge's poetry and in esoteric literature. The Merovingians
were "sacred kings" who reigned but did not rule, leaving the secular
governing function to chancellors known as the Mayors of the Palace.
It was one of these Mayors, Pepin the Fat, who founded the dynasty
that came to supplant them -- the Carolingians.>>
OF THE BEAR" for their worship of the BEAR-goddess [A]RDUIN[A]. The word
"[A]RCADI[A]" comes from Arkas, patron god of that area of Greece, the
son of the nymph Callisto, sister of the huntress Artemis. Callisto's
constellation is also known to many as URSA MAJOR, the Great BEAR. The
name "Arthur" comes from the Celtic arth, related to "Ursus" -- namely,
"BEAR." In legend, the Merovingians were said to be descended from the
Trojans, and Homer reports that Troy was founded by a colony of
Arcadians. The "Prieure documents" claim that the Arcadians were
descended from BENjamites driven out of Palestine by their fellow
Israelites for idolatry. "[A]RCADI[A]" was also known as the source of
the River ALPHaeus, the "underground stream" which figures prominently
in Coleridge's poetry and in esoteric literature. The Merovingians
were "sacred kings" who reigned but did not rule, leaving the secular
governing function to chancellors known as the Mayors of the Palace.
It was one of these Mayors, Pepin the Fat, who founded the dynasty
that came to supplant them -- the Carolingians.>>
<<Ean Begg feels [the Prieure] is connected with many of the
Black
Virgin sites all over Europe. If the organization's full name is
the Prieure de Notre Dame du Sion, and if it is site of ORVAL is
connected to the worship of the BEAR-goddess [A]RDUIN[A], venerated
by the Sicambrian Franks of the area and their Merovingian kings.
--------------------------------------------------------------------
Mary [A]RDUIN[A] of ARDENNES
http://www.taliesin.clara.net/sidhi.htm#Arduina
Virgin sites all over Europe. If the organization's full name is
the Prieure de Notre Dame du Sion, and if it is site of ORVAL is
connected to the worship of the BEAR-goddess [A]RDUIN[A], venerated
by the Sicambrian Franks of the area and their Merovingian kings.
--------------------------------------------------------------------
Mary [A]RDUIN[A] of ARDENNES
http://www.taliesin.clara.net/sidhi.htm#Arduina
Celtic goddess of woodlands, wild life, the hunt and the
moon;
Guardian and Eponym of the ARDENNES Forest
Guardian and Eponym of the ARDENNES Forest
-----------------------------------------------------------------
<= 19 =>
<= 19 =>
__ TOTHEO
[N] li
_ <E B E
(G) ____
ETTERO
__ FTHESE__- [I] nS - U<I>N (G) ____ SONNET
__ SMrWha_- [L] LH [a] P <P> I__ [N] __ESSEA
__ NDthat____[E] T _ [E|r] - N <I> T__ [I] E<P>ROM
__ ISEDB Y O u ___ [R|e] V <E> R [L]<I> VING
<P>OEtW I s h _____ [E|t] _ H [T] H _ [E] WELLW
<I>ShIN-(G)a _____ [d V e] N [T] u ______ ReRINS
<E>tTIN (G)fort----_______ H [T] t
__ FTHESE__- [I] nS - U<I>N (G) ____ SONNET
__ SMrWha_- [L] LH [a] P <P> I__ [N] __ESSEA
__ NDthat____[E] T _ [E|r] - N <I> T__ [I] E<P>ROM
__ ISEDB Y O u ___ [R|e] V <E> R [L]<I> VING
<P>OEtW I s h _____ [E|t] _ H [T] H _ [E] WELLW
<I>ShIN-(G)a _____ [d V e] N [T] u ______ ReRINS
<E>tTIN (G)fort----_______ H [T] t
Asteroid #197: ARETe
×2
--------------
Asteroid #394: [A]RDUIN[A]
×2
--------------
Asteroid #394: [A]RDUIN[A]
---------------------------------------------------------------------
KING CHLODIO "NEVER CUT HIS HAIR" [like Henry Wriothesley]
---------------------------------------------------------------------
http://www.dreamscape.com/morgana/metis.htm
KING CHLODIO "NEVER CUT HIS HAIR" [like Henry Wriothesley]
---------------------------------------------------------------------
http://www.dreamscape.com/morgana/metis.htm
<<Up until recently, little was known about the Merovingian kings,
as
they inhabited that historical epoch derided as the Dark Ages. The
founder of the royal line, Merovech, was said to be of two fathers --
his mother, already pregnant by KING CHLODIO, was seduced while swimming
in the ocean by a QUINOTAUR, whatever that was, and Merovech was formed
somehow by the commingling of Frankish blood and that of the mysterious
aquatic creature. Like the Nazoreans of old, the Merovingian monarchs
NEVER CUT THEIR HAIR and bore a distinctive birthmark -- said to be
a red cross over the shoulder blades. Their robes were fringed with
tassels which were said to carry magical curative powers. They
were known as occult adepts, and in one Merovingian tomb was found
such items as a golden bull's head, a crystal ball, and several
golden miniature bees. Strangely, many skulls of these monarchs
appear to have been ritually incised; i.e., trepanned.>>
-------------------------------------------------------------------
Dagobert II murdered by POISON POURED IN THE EAR
-------------------------------------------------------------------
http://www.dreamscape.com/morgana/metis.htm
they inhabited that historical epoch derided as the Dark Ages. The
founder of the royal line, Merovech, was said to be of two fathers --
his mother, already pregnant by KING CHLODIO, was seduced while swimming
in the ocean by a QUINOTAUR, whatever that was, and Merovech was formed
somehow by the commingling of Frankish blood and that of the mysterious
aquatic creature. Like the Nazoreans of old, the Merovingian monarchs
NEVER CUT THEIR HAIR and bore a distinctive birthmark -- said to be
a red cross over the shoulder blades. Their robes were fringed with
tassels which were said to carry magical curative powers. They
were known as occult adepts, and in one Merovingian tomb was found
such items as a golden bull's head, a crystal ball, and several
golden miniature bees. Strangely, many skulls of these monarchs
appear to have been ritually incised; i.e., trepanned.>>
-------------------------------------------------------------------
Dagobert II murdered by POISON POURED IN THE EAR
-------------------------------------------------------------------
http://www.dreamscape.com/morgana/metis.htm
<<One of the great Merovingian kings, Clovis, struck a deal with
the
newly nascent Roman church. He would subdue their enemies, the Arian
Visigoths and the pagan Lombards, in return for baptism into the faith
and recognition of his right to rule a new Roman empire as "Novus
Constantinus." Yet one of his descendants, Dagobert II, was murdered by
A LANCE PIERCED THROUGH HIS EYE (or POISON POURED IN THE EAR -- accounts
vary) at the orders of Pepin. The church endorsed the assassination,
flatly betrayed its pact with Clovis, and in turn recognized the family
of usurpers as legitimate, culminating with the crowning of Charlemagne
as Holy Roman Emperor. It was thought that the Merovingian lineage was
extinguished; in any case it was excised from the history books. But
there is some evidence that Dagobert's son, Siegebert IV, survived and
that a Merovingian principality continued to be ruled in Septimania by
Guillem de Gellone, a descendant & ancestor of GODROI de BOUILLION.>>
---------------------------------------------------------------------
GODROI de BOUILLION
---------------------------------------------------------------------
http://home.fireplug.net/~rshand/streams/scripts/sion.html
newly nascent Roman church. He would subdue their enemies, the Arian
Visigoths and the pagan Lombards, in return for baptism into the faith
and recognition of his right to rule a new Roman empire as "Novus
Constantinus." Yet one of his descendants, Dagobert II, was murdered by
A LANCE PIERCED THROUGH HIS EYE (or POISON POURED IN THE EAR -- accounts
vary) at the orders of Pepin. The church endorsed the assassination,
flatly betrayed its pact with Clovis, and in turn recognized the family
of usurpers as legitimate, culminating with the crowning of Charlemagne
as Holy Roman Emperor. It was thought that the Merovingian lineage was
extinguished; in any case it was excised from the history books. But
there is some evidence that Dagobert's son, Siegebert IV, survived and
that a Merovingian principality continued to be ruled in Septimania by
Guillem de Gellone, a descendant & ancestor of GODROI de BOUILLION.>>
---------------------------------------------------------------------
GODROI de BOUILLION
---------------------------------------------------------------------
http://home.fireplug.net/~rshand/streams/scripts/sion.html
<<The earliest roots of the Prieure de SION are in some sort of
Hermetic
or Gnostic society led by a man named Ormus. This individual is said to
have reconciled paganism and Christianity. The story of SION only comes
into focus in the Middle Ages. In 1070, a group of monks from Calabria,
Italy, led by one Prince URSUS, founded the Abbey of ORVAL in France
near Stenay, in the ARDENNES. These monks are said to have formed
the basis for the the ORDRE de SION, into which they were 'folded'
in 1099 by GODROI de BOUILLION." - Jon. Vankin and John Whalen
---------------------------------------------------------------------
Forest of Arden => ARDENNES
duke (S)e(NIO)r => SION
OLIVER => ORVEIL
---------------------------------------------------------------------
November 28, 1582 William Shagspere & Anne Hathwey of Stratford
[November 28, 1660 founding FELLOW of the Royal Society]
or Gnostic society led by a man named Ormus. This individual is said to
have reconciled paganism and Christianity. The story of SION only comes
into focus in the Middle Ages. In 1070, a group of monks from Calabria,
Italy, led by one Prince URSUS, founded the Abbey of ORVAL in France
near Stenay, in the ARDENNES. These monks are said to have formed
the basis for the the ORDRE de SION, into which they were 'folded'
in 1099 by GODROI de BOUILLION." - Jon. Vankin and John Whalen
---------------------------------------------------------------------
Forest of Arden => ARDENNES
duke (S)e(NIO)r => SION
OLIVER => ORVEIL
---------------------------------------------------------------------
November 28, 1582 William Shagspere & Anne Hathwey of Stratford
[November 28, 1660 founding FELLOW of the Royal Society]
November 27, 1582 Tues. Wm Shaxpere & Anna Whateley of
Temple Grafton
November 27, 1095 Tues. Pope Urban launches 1st Crusade [Templars]
-------------------------------------------------------------------
AA Neufer
November 27, 1095 Tues. Pope Urban launches 1st Crusade [Templars]
-------------------------------------------------------------------
AA Neufer
0 new messages