Art historian and Tudor author Roland Hui has rediscovered a contemporary depiction of Anne Boleyn within the The Black Book of the Garter, created in 1534 and boasting several images of kings, including Henry VIII.
As Hui describes, “a lady, crowned and sceptred, sits enthroned surrounded by courtiers. Behind her are six maids of honour, and before her on the left, stands an armoured herald bearing the arms of England on his tabard. On the right is an ‘ancient knight’ wearing a rich chain of office. The accompanying text, written in Latin, identifies her as the Queen Consort who helps preside over the meeting of the Order:
‘At this appearance, was his excellent Queen, splendidly arrayed with three hundred beautiful ladies, eminent for the honour of their birth, and the gracefulness and beauty of their clothing and dress. For heretofore when jousts, tournaments, entertainments and public shows were made, in which men of nobility and valour showed their strength and prowess, the Queen, ladies, and other women of illustrious birth with ancient knights, and some chosen heralds were wont to be, and it was supposed that they ought to be present as proper judges, to see, discern, approve or disapprove what might be done, to challenge, allot, by speech, nod, discourse, or otherwise to promote the matter in hand, to encourage and stir up bravery by their words and looks’.
The ‘excellent Queen’ referred to is Philippa of Hainault, the wife of Edward III. However, a closer inspection of the illumination shows that the sitter wears a large circular pendant at her bosom. On it are combined letters in gold: A and R – that is Anna Regina. It is Anne Boleyn as Queen Philippa.”
Unfortunately, the artist and court painter Horenbout seemed more preoccupied with depicting an image of majesty rather than accurately depicting Anne’s features – however, there is a definite telltale oval face and pointed chin, which corresponds to the popular portraiture of Queen Anne, most notably the famous “B” necklace pattern. Furthermore, the dress worn by the queen is strikingly similar to one later donned by Jane Seymour.
To quote Claire Ridgeway, it seems the Moost Happi coin is no longer the only confirmed contemporary image of Anne!
Carrie Fisher will forever be inextricable from Princess Leia, and Princess Leia, the heroine at the heart of the Star Wars films, will forever be bonded to the actress who played her. Fisher will continue to be known best for her portrayal of Princess Leia, the character she created based on her feminist vision of how women could lead, fight and exist, both here on Earth and in a galaxy far, far away.
“I like Princess Leia.
“I like how she handles things. I like how she treats people. She tells the truth, and gets what she wants done”.
“The downside is the hair and some of the outfits”.
Carrie Fisher on Princess Leia.
Princess Leia in the iconic gold bikini. Source: Giphy
Star Wars movie was released in 1977, at the peak of the feminist movement’s second wave. It’s not that there were no female superheroes before, but Princess Leia was the one who mesmerised everyone.
“You can play Leia as capable, independent, sensible, a soldier, a fighter, a woman in control – control being, of course, a lesser word than master,” Fisher told Rolling Stone. “But you can portray a woman who’s a master and get through all the female prejudice if you have her travel in time, if you add a magical quality, if you’re dealing in fairy-tale terms.”
“The basic idea you have in mind when you think of a princess is of dominant Disney princesses like Sleeping Beauty or Snow White — they’re dressed in pastels, they sing,” Jackson said. “But Princess Leia was this new kind of princess; she’s a bolt of energy, she’s just as strong as everyone around her, she controlled her own destiny and she was independent. That was such an important image.”
In 2008 Princess Leia was listed 89th Greatest Character of All Time.
Sources and further reading
Second Wave of Feminism, The second wave began in the 1960s and continued into the 90s. This wave unfolded in the context of the anti-war and civil rights movements and the growing self-consciousness of a variety of minority groups around the world. Four Waves of Feminism by Martha Rampton https://www.pacificu.edu/about-us/news-events/four-waves-feminism
Salvator Mundi is a painting of Christ as Salvator Mundi (Savior of the World)
The image is at once perfect and effortless: its symbolism is compelling and its technique is masterful. Here, Christ doesn’t just look out at us from a boring blackish-brown interior: He subtly gazes at us through layers of sufamato that belie eternity.
Painted on walnut, recently attributed to Leonardo da Vinci, the subject, Jesus Christ, was commissioned for Louis XII of France between 1506 and 1513. The recently authenticated work was once owned by Charles I of England and recorded in his art collection in 1649 After he was executed, it went to Charles II, later it was auctioned by the son of the Duke of Buckingham and Normanby in 1763.
The trinitarian hand gesture symbolises that the male and female part of the spirit (the two fingers) is united together under a covenant made with the divine (pointing upwards).
In da Vincis painting Jesus is wearing the Virgins blue color and not his usual red color; this symbolises the union of the male and female spirit. However, Jesus is painted very androgynous in da Vincis painting, this again signifies the union of the male and female spirit
Notice that the leather pattern matches the Kabbalah Tree of life where the heart gem is the Da’at sephiroth and symbolizes the unification between the male and the female (se picture below).
There are three lights reflecting in the glass Globus Crusiger, this again points to the trinity of the male, female, and divine. He is holding the mundus, the world which he’s saving. Orbs in other Salvator Mundis, often they’re of a kind of brass or solid. Sometimes they’re terrestrial globes, sometimes they’re translucent glass, and one or two even have little landscapes in them. What is amazing about this one is that it is a crystal ball.
Golden ratio proportions in composition of Salvator Mundi starting with golden rectangle for the head.
A more complete look at golden ratios in Salvator Mundi is presented in this YouTube video. As you watch the video, consider the detailed anatomical studies da Vinci did and imagine him planning and measuring every aspect of each element of this painting. Imagine him striving to capture an essence of the Divine on a two-dimensional, 26” x 18” board.
February 2017 meandering through the corridors of the Vatican Museum in Rome I stumbled 53 etchings by the Dutch Protestant artist Rembrandt Harmenszoon van Rijn (1606–69) which are on loan from the Zorn Museum in Mora, Sweden. The collection named “Images from Heaven and Earth,” is an extension of ecumenism and desire for Christian unity.
It’s been documented that the Dutch artist grew up with a Catholic mother and Protestant father, experiencing the combination of both worlds, which led to the Bible being his biggest source of inspiration for his artwork.
The etchings were surreal, so incredibly delicate; my personal favourite was Adam & Eve, signed and dated 1638.
Both Adam and Eve were portrayed as middle aged, somewhat plump and endearing. The serpent had been replaced by what appeared to be a Dragon and Rembrandt’s personal touch is the elephant in the background.
There is no machine anywhere on earth bigger or more powerful than the Large Hadron Collider, located at CERN in Switzerland. A collider that spans 17 miles in length; it is the most powerful particle accelerator every made and many eminent physicists believe that what scientists are doing there has the potential to destroy not just the world, but the universe itself.
Just to write such a thing seems ludicrous, “…the power to destroy the universe…” However, Professor Stephen Hawking, a man considered the equal of Einstein, has this to say about the Large Hadron Collider and what it may discover. He believes it “…could pose grave dangers to our planet…the God Particle (also known as the Higgs Boson Particle) found by CERN could destroy the universe.”
So …keeping in mind this, why on Earth is the Nimrod Palymra Arch Opening near Cern in March 2017?
Shocking!! “Arch of Baal” to be built near CERN on March 25, 2017.
Illuminati anti-christ ritual exposed, Palmyra Arch. This agenda is using “imititative” and “symbollic” magic to represent ‘the gate’ or ‘portal’ of Baal/Nimrod/Babylon ritualistically.
March 25, 2017 is the 84th day of the year 2017 in the Gregorian calendar. There are 281 days remaining until the end of the year. The day of the week is Saturday. SATURNday.
On Sunday 12th February 2017 the replica of the temple of ba’al was erected for the opening of the World Government Summit based in Dubai. The World Government Summit Organization is founded in collaboration with the World Bank, International Monetary Fund, United Nations, World Economic Forum, Abu Dhabi Fund for Development, OECD and CLAD. Together with this organisations, the World Government Summit Organization aims to commit itself in shaping the future of more than 7 billion people across the world. This global platform is dedicated to shaping the future of the government worldwide, in which the organisationsutilise technology, innovation and opportunities to enhance and solve the problems facing humanity annually. A really good article written by Alex Newman entitled At “World Government Summit,” Top Globalists Drop The Mask delves into the operation and is really worth reading here.
According to one rabbi this has created a scene that symbolises the dangerous fusion of Ishmael and Edom against Israel.
The temple erected here, during this auspicious event is the globalists dream of a utopia where humanity has been united under a one world government, a one world economy and a one world religion. The globalists understand the power of symbols very well. The erecting of this arch in Dubai at the exact same time the “World Government Summit” was being held sends a very powerful message. Unfortunately the mainstream media in the western world were almost entirely silent about this summit.
Now, cast your minds back to 2016 when originally the plan was to construct a replica of the temple of ba’al in both New York and London, but after massive amounts of uproar from the people – UNESCO and the Institute for Digital Archeology announced that they would not reconstruct the temple of ba’al but rather they would rebuild the arch of Palmyra.
The Arch of Palmyra, or also known as the Arch of Triumph is essentially the entranceway to the temple of baal. “The Monumental Arch was built sometime during the reign of emperor Septimius Severus, which lasted from 193 to 211 AD; it linked the main street of the Colonnade and the Temple of Bel.” Bel and Baal are the same deities. Both are represented in the Bible as the enemy of the Sovereign God, the Living God, the God of the Bible better known as Yahweh.
Hawking goes onto say that the Large Hadron Collider is generating such unbelievable amounts of energy that there is a danger it could inadvertently create a “vacuum bubble.” Essentially he is saying that because the universe is fundamentally unstable, in discovering the Higgs Boson, such tremendous energy is released that space and time itself can collapse catastrophically through something called “vacuum decay.”
Neil de Grasse Tyson, physicist and Director of the Hayden Planetarium (and a prominent atheist), also believes, like Hawking, that the experiments being planned and conducted at CERN are a legitimate danger to the future of mankind.
Both these eminent scientists have sounded their warnings independently. Both of them are genuinely worried. Hawking has even suggested that the LHC and what they are doing there actually “scares him.”
Indeed, so dangerous that some scientists have even taken out lawsuits to prevent and restrain CERN from operating the LHC at full power until a comprehensive risk assessment of dangers is undertaken. The lawsuits have failed and no such risk assessments have ever been undertaken
From recreating the Big Bang, to creating Dark Matter, to discovering and producing strange matter called quarks and stranglets – something that can only be done at almost unimaginably powerful high energy collisions to produce the conditions necessary to bring about actual time travel.
In 2004, The Indian Government gifted a Statue of Shiva, a god of creation death and destruction.
During 2015 Illuminati Watcher reported that a piece of Art was being released by CERN.
This from an ‘artistic point’ was a fabulous film which portrayed performing arts and technology colliding with the Higgs Boson. The dance was called “Dance of Destruction”. The ‘film’ is about a physicist named Lucas who is evoking a goddess deity named Claron (aka Shiva) through the Dance of Destruction. She communicates to him like Aleister Crowley’s spirits did, and instructs him on what to do. Here’s a snippet of the explanation of this video:
Claron McFadden appears, asking him if he loves the particle more than he loves himself, and, if he could, would he become one with the particle.
However, it is all rather sinister. The spiritual realm is real and the spiritual warfare that takes place there is real, something that is an anathema to these scientists. Could it be possible that these scientists inadvertently end up opening a portal or a door not to another dimension, but into the spiritual realm, perhaps even to the Bottomless Pit or the Abyss itself?
People today have become so desensitised to the supernatural that they have forgotten just how dangerous it can be. For most of humanity the existence of another realm, a spiritual realm is a mere fantasy. Why, on Earth would the gateway to the Temple of Baal visit CERN?
Such a treat, when you find an artist whose creations just are a delight and ignite that spark within. Luis Falero specialised in female nudes and mythological, oriental and fantasy settings. Twin Stars is a wonderful adaptation of a suggestion of astronomical science to the use of art. The original picture was a sensation of the Salon of 1881.
Austrian photographer Inge Prader recently recreatedGustav Klimt’smasterworks forStyle Bible, a part of the Life Ball Charity Event in Vienna, Austria.
This event coincided with the ancient Roman spring festival Ver Sacrum, which serves as an inspiration to creative people. Gustav’s Protagonists and figures as they were painted and embodied by the Viennese Secessionists was amazingly encountered again at the Life Ball 2015 with a shared aspiration for change, renewal and improvement as they dive into a rousing festival that celebrated life.
Life Ball acts as an international platform for the most important HIV/AIDS organisations and their representatives and contributes to sharing their work and vision with as many people as possible, worldwide beyond the borders of Austria, spotlighting it for the public in the course of an unique event.
One of the central motifs of the Style Bible 2015 was the Beethoven Frieze by Gustav Klimt, which photographer Inge Prader interpreted in a contemporary way for the Life Ball. With its history, it was thought that it would be a great metaphor for the goals of the Life Ball. In the Life Ball’s interpretation, the final scene, an intimate hug and a “kiss to the whole world” symbolises the fight against fear of contact and “social AIDS”.
A team of over 50 professionals worked on the demanding photography project which raised funds to help those with HIV/AIDS. Carefully posed models and intricately crafted props duplicate some of klimt’s most iconic masterworks like ‘death and life’ and ‘beethoven frieze’, mirroring the gold hued, highly decorative and erotic aesthetic the austrian artist became best known for. Fabulous richly ornamented costumes clothing warriors and women alike are situated alongside semi-nude figures and set against detailed mosaic backdrops, projecting paradise-like conditions that truly characterise klimt’s ‘golden phase’.
Silence – Odilon Redon. (c. 1911) pastel. symbolist. Museum of Modern Art, New York, USA .Redon here presents us with a portrait of Harpocrates, the God of mystical silence, whose characteristic gesture is the forefinger pressed before his lips. This gesture was later transfered to Hermes the Mystagogue, who guides souls out of multipicity. Ultamately the greatest mystery can not be seen or spoken; it is beyond the grasp of the intellect and all symbolic representation.
Middle Assyrian Chalcedony Cylinder Seal with a Lion-Dragon, 1300-1200 BC
Combining zoomorphic elements, this lively composition shows a fierce lion-dragon, the gaping mouth exposing long pointed teeth, the head is turned slightly to show horns on the top of the head.
This has the image of Ashur* chief god of Assyria, on a winged solar disc facing a scorpion-tailed lion-dragon**. Above the lion-dragon is a recumbent crescent moon, a symbol of Sin, the moon god and alongside it is an eight-pointed star which represents the goddess Ishtar. Next are seven dots representing the Sebittu, seven benevolent gods whose power could be harnessed against evil by means of magic incantation. Astrologically these dots were identified with the Pleiades. There were temples dedicated to the Sebbitu at the Assyrian cities of Kalhu (Nimrud), Dur-Sharrukin (Khorsabad) and Nineveh.
*The god in the winged sun disc could also be Shamash, the sun god. Scholars are not all in agreement over which god is being represented within the winged sun disc in Assyrian art. Ashur is an indistinct deity with no clear iconography of his own. When he is represented in art his attributes tend to be borrowed from another god (in this case Shamash), which makes it difficult to definitively identify him.
**The lion-dragon is a beast which could be a reference to either the chief Assyrian god Ashur, the moon god Sin or the storm god Adad.
Background: A period of cultural flowering and exchange developed in Mesopotamia after a dark age that followed the destruction of Babylon in 1595 B.C. The emergence of the Assyrians as a political power in northern Mesopotamia during the fourteenth century B.C foreshadowed the ascendancy that culminated in the world empire of the first millennium B.C. That phase of history, which falls into the latter half of the second millennium B.C., is called the Middle Assyrian period to distinguish it from the Old Assyrian period (early part of the second millennium B.C.) and from the Neo-Assyrian period (first third of the first millennium B.C.).
Leonardo da Vinci died on 2 May 1519 in Amboise, France. The world-renowned polymath excelled as a painter, sculptor, architect, designer, theorist, engineer, and scientist, though he was often more interested in the design and exploratory phases of his work than bringing them to completion. The Virgin and Child with St Anne, c. 1510, oil on wood, Musée du Louvre, Paris.
Mona Lisa (La Gioconda), c. 1503-5, oil on panel, Musée du Louvre, Paris
He has left behind almost 2,500 drawings in notebooks and on loose sheets. Though he was of the same generation as Sandro Botticelli (1445-1510), Domenico Ghirlandaio (1449-94), and Filippino Lippi (1457-1504), rather than Michelangelo (1475-1564) or Raphael (1483-1520), Leonardo is widely recognised as the father of the High Renaissance. St John the Baptist, 1513-16, oil on panel, Musée du Louvre, Paris
St John in the Wilderness (Bacchus), 1510-15, oil on panel transferred to canvas, Musée du Louvre, Paris
Equestrian monument (for Francis I), 1517-18, black chalk on paper, Royal Library, Windsor
While Leonardo famously left a number of major commissions incomplete, those that he did finish are today some of the most recognizable images of the Italian Renaissance, including the Mona Lisa, which was among the paintings he took with him to France and are now among the Louvre’s most prized paintings. Leonardo left Italy for France at some point after August 1516 to become first painter and engineer to King Francis I. Though in poor health, Leonardo continued to invent, imagine, and design through his drawings and notes but left larger-scale work to assistants. He spent his last years at the Château de Cloux (later called Clos-Lucé), near the King’s summer palace at Amboise on the Loire River. Copies after Leonardo’s Leda, 1510-15, oil on panel, Galleria Borghese, Rome (Leonardo and Salaì) and 1505-10, oil on panel, Wilton House, Salisbury (Cesare da Sesto)
Leonardo can be considered, quite rightly, to have been the universal genius par excellence, and with all the disquieting overtones inherent in that term. Man is as uncomfortable today, faced with a genius, as he was in the 16th century. Five centuries have passed, yet we still view Leonardo with awe