The Study of Racialism

MisterLawyer · Posted: Fri 11 Jul 2008 11:08 Post subject:

There is so much in these messages that I feel I could respond to or clairify, I really don't know where to start.

fwsweet · Posted: Fri 11 Jul 2008 11:40 Post subject:

Salsassin · Suspended Joined: 04 Apr 2005 {Posts: 3508 }

Egmond Codfried · Suspended Joined: 03 Jul 2008 {Posts: 169 }

[quote="MisterLawyer"]There is so much in these messages that I feel I could respond to or clairify, I really don't know where to start.

Egmond Codfried · Suspended Joined: 03 Jul 2008 {Posts: 169 }

[quote="Salsassin"]

Egmond Codfried · Suspended Joined: 03 Jul 2008 {Posts: 169 }

DELETED

Egmond Codfried · Suspended Joined: 03 Jul 2008 {Posts: 169 }

DELETED

Egmond Codfried · Suspended Joined: 03 Jul 2008 {Posts: 169 }

JOHAN DE WITT

JOHAN DE WITT, SOMETHING LIKE A PRIME MINISTER OF THE REPUBLIC OF THE NETHERLANDS. BLACK SKIN TONE?

BLACK? A MARBLE BUST IN OUR PARLIAMENT BUILDING SHOWS HIM TO LOOK LIKE AN ARAB TYPE FROM CASABLANCA. LUCIOUS THICK LIPPED, LARGE BUT NOT PORTRUDING CHIN AND A MAGNIFICENT EASTERN NOSE. THE FAMILY WAS FAMOUSLY PROTESTANT, PERHAPS ORGINATING IN SWISS.

http://images.google.nl/imgres?imgurl=http://upload.wikimedia.org/wikipedia/commons/thumb/9/99/Johan_de_Witt.jpg/429px-Johan_de_Witt.jpg&imgrefurl=http://commons.wikimedia.org/wiki/Image:Johan_de_Witt.jpg&h=599&w=429&sz=47&hl=nl&start=75&um=1&tbnid=LU6m17fPDzkybM:&tbnh=135&tbnw=97&prev=/images%3Fq%3Djohan%2Bwitt%26start%3D60%26ndsp%3D20%26um%3D1%26hl%3Dnl%26sa%3DN

HALF-WHITENED?

WHITE

THE BROTHERS DE WITT LYNCHED BY SUPPORTERS OF THE ROYAL ORANGE FAMILY

WILLIAM OF ORANGE, FOUNDER OF THE ORANGE DYNASTY, DESCRIBED AS BROWN OF COMPLEXION AND THE BEARD AND MORE BROWN THEN WHITE, LOOKING QUITE PROGNASTIC.

Salsassin · Suspended Joined: 04 Apr 2005 {Posts: 3508 }

Egmond Codfried · Suspended Joined: 03 Jul 2008 {Posts: 169 }

[Portrait of a Blackamoor by Jan Mostaert (1475-1556). This nameless black man, was painted during the European Renaissance, and may have been associated with the court of Margaret of Austria in Malines or Charles V. His rich clothing, the gloves, the sword and the embroidered bag suggests a Spanish-Portuguese connection. His appearance shows him of the considerable status during the period. The pilgrim’s insignia on his hat, indicates his connection to Our Lady of Halle in south Brussels. Pilgrims journeyed there to give devotion to the Black Madonna of Hal/Halle.]

ALESSANDRO DE MEDICI, HUSBAND TO MARGARETHA OF PARMA (AUSTRIA), ILLIGITEMATE DAUGHTER TO CHARLES V HABSBURG AND HALF SISTER TO FILIPS II HABSBURG

MARGARETHA OF PARMA (OR AUSTRIA), GOVERNESS OF THE NETHERLANDS

Black is beautiful

In the summer of 2008 the Nieuwe Kerk will present a journey of discovery though the history of art. For the first time the attractiveness of the black person in the art of the Low Countries will receive attention. Many great masters turn out to have portrayed black people. The fascination with them will be illustrated in about 135 paintings, drawings and manuscripts from collections here and abroad. Black is beautiful presents a remarkable oil study by Rubens, an intimate drawing and etching by Rembrandt, paintings by Jordaens, Mostaert, Breitner, Jan Sluijters, Karl Appel and Marlene Dumas, and beautifully illustrated manuscripts from the late Middle Ages such as the famous Van Maerlant manuscript.

Together these works give an idea of the changing role of black people in Dutch art and culture. They show that for seven centuries black people have been part of Dutch art and history, in which they play an ever more important role. Striking images and new insights take us from the year 1300, via the great masters of the seventeenth century, to contemporary art. Iris Kensmil has made twelve memorial paintings especially for this exhibition; they pay homage to her predecessors in black emancipation. They will be temporarily added to the architecture of the imposing Nieuwe Kerk.

The exhibition is divided into three main sections: the Old World, the New World and the Modern World. These sections are further divided into subjects such as The black king, Strong men, Strong women, Africa and the Africans, (South) America and the slaves and Portraits.

For the first time Black is Beautiful presents a broad and coherent view of the beauty of black people in seven centuries of art in the Low Countries. The exhibition, which fills a gap in the study of Dutch art, is the result of years of research by guest curator Esther Schreuder and has been realised by the Nieuwe Kerk thanks to contributions from the VSBfonds, the Mondriaan Stichting and the Amsterdams Fonds voor de Kunsten. The exhibition is accompanied by a catalogue with international contributions in a Dutch an English edition which was made possible by the Prins Bernhard Cultuurfonds.

A 50-minute documentary about the exhibition will be shown on television. In October a broad programme of activities surrounding the subject of the exhibition will be organised.

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MY PROBLEM WITH THIS EXPOSITION IS THAT ONLY THE CLASSICAL AFRICAN LOOKING TYPES WILL BE INCLUDED, NOT THE MORE MULLATO TYPES AS MARIA JACOBA VAN GOOR OR CHARLOTTE SOPHIE VAN MECKLENBURG. I ALSO DON’T UNDERSTAND WHY THIS MAN BY MOSTAERT SHOULD REMAIN ANONYMOUS.

Egmond Codfried · Suspended Joined: 03 Jul 2008 {Posts: 169 }

[quote="Salsassin"]

Egmond Codfried · Suspended Joined: 03 Jul 2008 {Posts: 169 }

History of The Black Boy Inn
Source: The Black Boy Inn

[url]Many portraits:
http://forum2002.maghrebonline.nl/viewtopic.php?f=22&t=17290&st=0&sk=t&sd=a[/url]

Over the years at the Black Boy Inn, there has been much debate as to how this lovely country inn came to gain its name. Built in the mid 16th Century, history leads us to believe that it may have been named after King Charles II who was born with a very dark complexion and was, during the civil war, sometimes referred to as ‘the black boy’. The following extract is taken from English Monarchs, The House of Stuart.
“Charles’ appearance was anything but English, with his sensuous curling mouth, swarthy complexion, black hair and dark eyes, he much resembled his Italian maternal grandmother, Marie de Medici’s side of the family. During his escape after the Battle of Worcester, he was referred to as ‘a tall, black man’ in the parliamentary wanted posters. One of the nick-names he acquired was ‘the black boy’.”
However there are other stories too. Reflecting the early slave trade, there is the story of the young black boy found hiding in the cellar and also that of the local village woman who purportedly gave birth rather unexpectedly to a dark coloured child. Turning to the archives, the Banbury Museum on the other hand tells us that prior to being an inn, the Black Boy may have been a tobacconist as they used to be called Black Boys around this time.
If you have any thoughts or ideas, do let us know. The same applies to our resident ghost. None of the current team has met with her yet!
VIEW: Some National Portrait Gallery portraits of King Charles II Stuart
Egmond Codfried
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ORIGINS OF THE BLACK BOY

Charles II Stuart (1630-1685), named The Black Boy
The Stuart family plays a central role in my research on the black and coloured royalty in Europe from the Renaissance to the French Revolution: 1500-1789. I describe this period as ‘Reversed Apartheid,’ where it was a coloured and black minority which dominated white Europe. The many NPG engravings of Charles II show a royal, black skinned child and later as a black skinned man, who came from royal, black-skinned parents. How is such a thing possible and why don’t we hear about it? My research shows that Europe was dominated by a black and coloured minority elite, who considered themselves nobles. They symbolised their ethnicity by the little Moor or Black Page we find on many portraits of the nobility. This Moor is a symbol for the elusive term of Bleu Blood, and points to their ancestry and ideology. They are shown as white’s, just as Charles II is shown on many paintings, but most of them were dark of skin. This can usually be seen on engravings. Some painted portraits were later ‘whitened’ with beige paint. Some even had dark skin and classical African features as Charlotte Sophie of Mecklenburg Strelitz does on the Sir Ramsay portraits. She was the queen of George III and the grandmother to Queen Victoria. They were:“A European, intermarrying, fixed mulatto nation, with a black identity and members which looked more African or Asian or white.” I consider the French Revolution as the end of this apartheid like oppression. The coloured nobility then turned their attention to ‘breeding’ white offspring.
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SO WHO WAS KING CHARLES II?
http://www.englishmonarchs.co.uk/stuart_3.htm

“Charles’ appearance was anything but English, with his sensuous curling mouth, swarthy complexion, black hair and dark eyes, he much resembled his Italian maternal grandmother, Marie de Medici’s side of the family. During his escape after the Battle of Worcester, he was referred to as ‘a tall, black man’ in the parliamentary wanted posters. One of the nick-names he acquired was ‘the black boy’. His height, at six feet two, probably inherited from his Danish paternal grandmother, Anne of Denmark, also set him apart from his contemporaries in a time when the average Englishman was far smaller than today.”
Some ignorant misinformation on the internet:

[img]http://www.geocities.com/vue2sewell/CharlesII ...[/img]

“CHARLES was born in 1630 and was nicknamed the Black Boy because his mother, Queen Henrietta Maria, was ashamed of his dark and swarthy appearance.”
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ALESSANDRO DE MEDICI

Queen Henriette Maria, Charles II mother, was the daughter of Maria de Medici, Queen of France, from a black noble family. She was the sister of Louis XIII and the aunt of Louis XIV, The Sunking. Many members of these families are described or shown as ‘swarthy’ and many as Alessandro the Medici, even have African facial treats. The National Portrat Gallery-site has some black engravings of a extremely black skinned queen Henriette and her black skinned husband Charles I Stuart. A grandson of black skinned Mary of Scots, who was beheaded by orders of her niece Elizabeth I Tudor.
Egmond Codfried
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A MISTRESS AND AN ILLEGITIMATE CHILD TO CHARLES II STUART

[img]http://www.kipar.org/period-galleries/paintin... [/img]
Louise de Kerouaille

[img]http://www.kipar.org/period-galleries/paintin... [/img]

[The Countess of Lichfield with a ‘Black Boy.’ ]

Louise de Kerouaille from France was a mistress of Charles II Stuart. She was from noble extraction which she symbolises by posing intimately with the symbol of Bleu Blood, a beautiful black child who offers her white pearls. There are many portraits of this kind in European art. The first thing a noble person wants to tell the world is of his or her Bleu Blood, which instantly gives power, privileges and riches to a person.
The nobility presents themselves as having Bleu Blood, which meant that they were also biologically superior. Nobility did not come with landholdings, but was something in their DNA. Because they choose a African with classical treats I conclude that they speak about their ethnic origins. The old French and Dutch nobility were descendents from the Franks, free people who conquered the Dutch Germanic tribes and the Roman Gallic peoples living in France. The Latin speaking Franks most likely descended from the Nubians and Iranians which Julius Caesar brought to Europe in 50 BC to fight the Germanic peoples, and who stayed on.

The Countess of Lichfield was considered an illegitimate daughter of Charles II Stuart and Barbara the Villiers, his maitresse-en-titre. She is shown with a different looking black who resembles her father when he was a child. This I consider a very witty use of the symbol for her Bleu Bloodedness. The face is whitened of course as no child of a swarthy father as Charles II could be so blindingly white.

Egmond Codfried

Egmond Codfried · Suspended Joined: 03 Jul 2008 {Posts: 169 }

My neighbour asked if you have his telephone number, as she needs a date for tomorrow night. She has promised to measure his skull, when he is asleep!

Egmond Codfried · Suspended Joined: 03 Jul 2008 {Posts: 169 }

IS THIS A GARAMANTE WARRIOR BROUGHT TO EUROPE BY CAESAR IN 50 BC? DESCRIBED AS HAVING THEIR HAIR IN A 'CREST,' SO I ASSUME DREADLOCKS. HOW CAN WE GET THIS PICTURE PINTED HERE ON ONEDROPRULE.ORG?

EGMOND CODFRIED

[url]
http://www.britishmuseum.org/explore/highlights/highlight_image.aspx?image=an22735.jpg&retpage=20442[/url]

Height: 60.000 mm
P&E PRB 1856,7-1,19
Room 49: Roman Britain

Bronze figurine of a Moorish cavalrymanRoman, probably 2nd or 3rd century AD
London, England

'My initial response is to the contextualisation of the figure in Roman Britain. I would like to know more about the relative cosmopolitan make up of society at that time and the influence on the UK gene pool. Visually the figure is reminiscent of Rastafarians with its apparent dreadlocked hair and beard. I would like to see more information, perhaps an exhibition on the range and variety of hairstyles within African cultures and their meanings. That this figure was a cavalryman demonstrates there was a high level of military competence in Africa at the period which this figure represents.' Stuart Taylor, of English/Caribbean/Black British origin

This bronze figurine, originally seated on a horse, shows a Moor from the Roman province of Mauretania in North Africa. He has distinctive dreadlocks, a drooping moustache and a full beard. His eyes appear very lifelike because they are inlaid with silver. He wears leather boots and a short cloak over a tunic, and he holds his round shield in front of him. His right hand, now broken, would probably have held a spear.

Moorish cavalrymen rode without bridles and as early as the second century BC they were famous for their nimble horsemanship. They were deployed as specialist units in the Roman army, and a detachment is clearly depicted in one of the sculpted battle scenes on Trajan's Column in Rome (erected about AD 113). There they are shown fighting alongside Roman troops in the Emperor Trajan's Dacian Wars (AD 101-105).

An altar inscription tells us that one of these Moorish units, the numerus Maurorum Aurelianorum, was in Britain from the third to the fourth century AD. They were based at the fort of Aballava (Burgh-by-Sands) at the western end of Hadrian's Wall, and were probably brought over by the Emperor Septimius Severus (reigned AD 193-211), himself a North African.

K.R. Dixon and P. Southern, The Roman cavalry (London, Routledge, 1992)

A. Hyland, Equus: the horse in the Roman (London, Yale University Press, 1990)

P.A. Holder, The Roman army in Britain (London, Batsford, 1982)

A. Hyland, Training the Roman cavalry (Stroud, Glos., Sutton Publishing, 1993)

Salsassin · Suspended Joined: 04 Apr 2005 {Posts: 3508 }

Salsassin · Suspended Joined: 04 Apr 2005 {Posts: 3508 }

Egmond Codfried · Suspended Joined: 03 Jul 2008 {Posts: 169 }

[img]http://www.khm.at/system2E.html?/staticE/page2392.html[/img]

http://images.google.nl/imgres?imgurl=http://www.tuerkenbeute.de/media/il9_illuWindowGross/G1-1LeopI_00_il9_503x690.jpg&imgrefurl=http://www.tuerkenbeute.de/window/illustration/G1-1LeopI00il4_02_de.php&h=690&w=503&sz=52&hl=nl&start=7&tbnid=kNoQIyI6HQS-xM:&tbnh=139&tbnw=101&prev=/images%3Fq%3Dleopold%2BI%2Bhabsburg%26gbv%3D2%26hl%3Dnl%26sa%3DG

http://www.jamd.com/search?assettype=g&assetid=2661628&text=leopold+I+habsburg

EMPEROR LEOPOLD I HABSBURG (1640-1705)

[Swinburne: ‘a short, hale black man’]

[This work belongs to a series of six portrait busts of the various Habsburg monarchs living around 1695 and their male offspring. The series was commissioned by Elector Johann-Wilhelm of the Palatine-Neuburg, brother-in-law of Emperor Leopold I, in order to set up a monument to the Austrian monarchy and its dynastic connections at his Düsseldorf residence. On 27th August, 1695, Leopold I inspected this series executed by the court sculptor Strudel. He was so pleased that all the busts remained in Vienna. The august appearance, the long wig and crowning laurel wreath, as well as the skilful drapery of the bust idealize the irregularity of Leopold I’s features and make this into an impressive regal portrait.]

Deconstructing racism:
ARGUMENTS FOR A FIXED MULATTO EUROPEAN ELITE 1500-1789

Thank you for taking the time to look at part of my collection and making this comment. What I love about A.J.Rogers is his sense of humour. I nearly fell from my chair in the library, laughing about his handling of the Gustav VI Adolf/ baron of Fulkila scandal.

Snowden in ‘Black’s in Antiquity’ shows how his White colleague’s would describe a stone head as ‘White’ or a ‘Caricature’ when this clearly shows Black features. Some even were adamant that there was no trace of African treats. Snowden shows these wrongly described pieces and I see the Blackness, often overwhelmingly so.

So why is it that one can see it and another does not?

I assume that it’s a skill you pick up growing up in a mixed society like Surinam, with fifteen ethnicities and a thousand mixtures, where it’s normal to discuss personal ethnicity and having great fun doing so. I always say that in Suriname we have no need for paternity DNA tests because we have Old Women, no insult intended. They would always know who the father is, by not sleeping and looking out of the window and see who is ‘talking’ to who, by just taking one look in the crib. And woe! the woman who has strayed and produced a child which shows the most tiny sign of an admixture of Javanese, Indian or White, which does not run in the last seven generations!

A skilled doctor could sit quietly in a train and study his fellow patients and could see if they have some hidden condition. Like listening to breathing, looking at a complexion, observing ‘drumstick fingers,’ which point to diseases of the heart. So eyeballing can be very handy, when there are no other means to measure.

I have limited my research to the period 1500-1789. The start of The Renaissance when everything changed and pieces with a Moor emerged.

So as I explained, I have no recourse to DNA test or skull measurements so we will have to do with:

Personal descriptions: Black, Brown, swarthy, chimney sweep, bad complexion, ugly, of low birth: about powerful, elite European persons

Self descriptions as Black, brown, not the white hands

Black and even pitch black looking portraits of an imperial, royal, noble or intellectual elite person or his blood relatives

The existence of both white and black portraits of the same person.

The extensive use of The Moor in portraits, centrally placed in religious scene’s, precious jewellery etc

The use of the Moor, always a Classical African, in literature as in Othello, The Masque of Blackness etc

The over painting of portraits with beige paint, with pigments from a later era.

The denial of Blacks existing in Europe

The white make-up and blond wig fashion, the make up also being a bleaching cream

The violence of the French revolution to overthrow this elite

When I started my research I saw a methodology that a researcher has to prove Black ethnicity by producing a Black ancestor. What if this one Black ancestor is so far back in time that nobody knows him? I have seen a few of these eurocentric articles and immediately noticed that the central person must have married another coloured, as the off spring looked dark. Like in the case of Alexander Pushkin who must have been truly Black and classical African in looks as most of his ancestors from both sides were of colour. It’s not only Abraham Hannibal who provided the Blackness. Pushkin’s granddaughter Nadeja Mountbatten, Countess of Merenburg, Marquise of Milford Haven, daughter of a Russian Grand Duke and Pushkin’s granddaughter Sophie, married to a grandchild of Queen Victoria, still is reported to have had ‘negroïd’ hair. Seven generations after Hannibal, Pushkin’s great grandfather.

What if people who are more or less of colour marry among each other and produce ‘mulatto type’ offspring. Some of the best examples are not on the web, though, but at the Iconografische Bureau in The Hague. To be allowed to publish one needs mega bucks! This is one reason I had to formulate my ‘fixed mulatto race’ definition, to be able to move on. There are many human mixes which remain nameless, but White they ain’t!

University students are not taught to change or overthrow the status quo. I think of these bright young man and woman as the ‘Basiji’ of Iran, the religious police. They patrol the streets to see that no one tries to alter the ‘Revolution’, the status quo. They must faithfully repeat what they have been told and forcefully reject anyone who breaks with orthodoxy. Science today is being seen by some thinkers as a religion, and apostasy is punishable by death! In Holland Black scholars can only research ‘slavery’ (1500-1900) and not meddle in White People’s stuff. Like saying things, about Rembrandt or William of Orange. They can only move between the lines which were set out by their Eurocentric professors. If they fail to this they will be evicted from Academia.

My strength is being an outsider in many ways and escaping Eurocentric, and white supremacy indoctrination. That’s why I feel I have little time left to inform others about these matters. As soon as I have found a Black noble in Google, it’s removed or blocked. It used to be that the first portrait of Charles II Stuart in Google would be on of the blackest one. Now it’s lost, and can only be seen if you go into my postings.

People should take care to download all these portraits, while they can. It will only take ten minutes, to put in on a CD.

Egmond Codfried

Egmond Codfried · Suspended Joined: 03 Jul 2008 {Posts: 169 }

QUEEN HENRIETTA MARIA, MOTHER OF CHARLES II STUART; THE BLACK BOY

http://www.jamd.com/search?assettype=g&assetid=51243784&text=QUEEN+HENRIETTA+MARIA

She was a daughter of Maria de Medici, Queen of France, and Henri IV. Sister to Louis XIII and aunt to his son Louis XIV, The Sun King of France.
Her daughter Maria Henriette Stuart married William II, Stadholder of The Netherlands. Their son, King William III married his niece Maria Stuart and became king of England. The Orange marches in Ireland celebrate King William's victory over his catholic father in law, James II.
William III died childless, so his titles went to another branch of the Orange family, of the older brother of William I of Orange, Johan VI, Count of Nassau.