The Blue blood Is Black Blood (1100-1848) and the Suriname Blue Blood is Black Blood Museum are based on historical research by Egmond Codfried and states that Europe was ruled by a brown and black complexioned noble and bourgeois native elite, which oppressed the whites, the third estate, till 1848, when the newly emancipated whites had all old master portraits altered to show white instead of brown faces.
dinsdag 6 augustus 2013
AN ESSAY ON SOURCES FOR THE BLUE BLOOD RESEARCH
6 AUGUST 2013
AN ESSAY ON SOURCES FOR THE
BLUE BLOOD RESEARCH
6 AUGUST 2013
ask for sources, without consulting those sources. Many seem to mean: ‘Did a
white professor discovered the things you say?’ No, but I use sources written
by white and black researchers. although the synthesizing of all my information
and knowledge is by me. So the blue blood theory is only found in my books,
with a long or short list of books I consulted. In discussion I like to emphasize
that people already know a lot about the elements that make up my research.
First I ask them if they have any sources that proof that many historical
persons were white? They are not critical what their colonial masters presents
them with, but suddenly for my research they are supercritical.
I like to
point out that most people accept that the first Europeans came from Africa. So
no discussion there. But next revisionist science says they became white 6000 years
ago. And they also say: ‘our ancestors came from the middle east 6000 years
ago.’ Recently I read in Archeology, a magazine, that it has proven to be
impossible to establish a link between present day Europeans and the ancient
hunter/gatherer Europeans from 45.000 years ago. It means that the present day
European descent from others who came from elsewhere, says Archeology. The present
day Europeans are the whites and they started coming around 6000 BC to Europe,
from Central Asia. As usual there is no consensus about where whites come from
so I stick to my own guns. In Central Asia the so-called Ice mummies were found
from persons who were blond and blue eyed, and do not resemble the Chinese-like
people who live there. This gives credence to my idea that whites came out of
Africa, moved overland to Central Asia, became a fixed white nation, and next
came to Europe 6000 years ago. But mostly around 400 AD.
Whites are descendants
of albino’s who interbreed in geographical
isolation to become a foolproof white nation. They still resemble albino’s
although because of admixture with others, many whites can tan and do not
immediately burn in the sun. furthermore albinism comes in many types, with
some already being able to tan, and having dark hair and eyes. Albinism can
hardly be considered a disease as albinos function on all levels of society. They
just have to protect themselves against the sun, like some otherwise healthy
functioning people have to avoid sugar, or milk, or gluten etc. it does not
mean their minds are affected, or that I’m out to insult whites who are
obsessed with the idea that albinism is a sickness.
I do not think Blacks are superior, it’s just
that they were the first, so they peopled the whole world and did all the big inventions and thus civilized
the whole world. Unfortunately the part that elevated itself in an noble elite
by 1100-1200 considered themselves as being the first Europeans, as true
Europeans from the soil, and oppressed and exploited the whites who they saw as
Jane Austen research I understand that they equally looked down on the
bourgeoisie who was also black and brown of complexion, as they did on the
whites. By reconstructing those times I’m not saying Blacks are superior, but
that the brown and black complexioned elite saw itself as superior over whites.
They even used the skin of whites to bind books, make clothes and shoes. Church
doors were lined with human skin, some sources on the web inform us. Because of
human skin as shoe leather and a need for a historical Declaration of Rights of
Man, I understand that whites were not considered humans.
of Human Races since 1760 also lead to a hierarchy between these supposed
races. Next there was no agreement about how many human races there were and
what they were. The numbers were 3, 5, 7
and 45. This fact alone marks the invention of Human Races as unscientific. So
I wondered what need there was for human races, what was going on in Europe for
them to invent such a unscientific concept. Blacks came way down below, but
just above apes. Why?
declared to be degenerated humans who were morally bad, and Blacks were just a
step above total degeneration. Rousseau who is described by James Boswell as ‘a
genteel black man’ claimed he could not tell the difference between Blacks and
Apes. Why did he say such a thing? What did Blacks do to make him so angry?
certain 17 century painting we can derive that the nobility was sometimes
depicted as apes, sometimes dressed in all the extravagant noble fashions. The nobility
self-identified as Black by the use of heraldic Moors in family crests. Or having
Moors, classical African face type, in their employ. These Moors on portraits
are then not real people but rather symbols of blue blood and black supremacy. If
they were real we would have been able to know their identity.
source are statements that old master paintings needed to be restored because
the paint had darkened. This started in 1848, and became a new way of
maintenance of a collection. The book by Alison McQueen, The Rise Of The Cult
Of Rembrandt(2003) lead me to understand that this cult had portrait
restoration at its center, although the writer did not know this. They invented
a new biography for Rembrandt and claimed he, like Shakespeare, depicted or
presented the ordinary folks. the once we call serfs or villains, and who were
the third estate till 1848. as I had already discovered that the third estate
were the whites, and the elite was brown and black complexion, I could
synthesize that the revolutionary governments inherited a great body of
precious old master paintings that showed the Ancien Regime and their
aesthetics and brown and black faces and bodies on genre pieces. To prevent
back sliding and groups claiming power because of former rights, they had either
to destroy the priceless works by Rembrandt, Rubens, or Mierevelt; or had them
altered. They claimed the paint had darkened, and the painters intention was to
depict whites, so the portraits were all whitened with beige and pink. It seems
that there was deadline around 1880 and that some families themselves took to
painting. There are examples were the over paint is very badly, and crudely
done. And some persons now have a solid pink face above a subtle, shining harness
done by a master painter. X-rays of portraits can reveal the double layers of
paint, indicating over painting. A portrait of Nicolaas van der Meer and its
pendant of his wife by Frans Hals were investigated and it was found that hands
and face were over paints with pigments that were only discovered in the 18
century. As the portraits remained in the family, the reason for the over paint
was not discovered. They were over painted with beige to hide the brown or
black skin. With this paragraph I tried to name a few sources, and show how by
comparison and argument I synthesized my knowledge.
brought me to the final stage of my research, telling the world about the over
paints in all museums. And why it seems there are no brown and black writers,
inventors, scientist, rulers etc., because they all have been repainted beige
to whiten them. I also found that the
Greek and Roman civilizations were invented by brown and black complexioned Europeans.
This part of history was whitened in the same way and by the same people that
whitened the medieval European civilization. The rulers, like Alexander the
Great who was described and depicted as ‘swarthy’ which means very dark or
black skinned, were brown and black Europeans. A book like Frank Snowden,
Blacks in Antiquity(1971) is misguided because he regards the Blacks he find as
immigrants in Europe. Like the books by JA.Rogers who speaks of ‘a Black strain’
or ‘a fixed mulatto race.’The nobility
was found by brown and black complexioned Europeans, and not whites who married
or invited Blacks to join them. They became white after 1880 by force and to
keep their belongings and power. By calling them a mulatto race Rogers caters
to the prejudice that mulatto’s are intelligent because of the white blood they
have that cancels out the low Black blood. They were deceived by the then
available research, and nobody realized that all the portraits were over paints
Detail Sir Joshua Reynolds, Elizabeth Keppel. De Moorress symbolises high nobility, or blue blood, and Black Supremacy.
Aanoud Joost Keppel, grandfather of Aarnood Joost van Der Duyn van Maasdam, and grandfather of the grandmother of George Keppel.
Baron Aarnoud Joos van der Duyn van Maasdam, uncle of George Keppel: described as 'chimney sweeper,' 'swarthy' and 'black brown.' This is obviously a whitened portrait.
Adam Francois Jules van der Duyn was a grandson of Aarnout Joost van der Duyn. This type of engraving shows a degree of dark skin.
Elizabeth Keppel by Reynolds, with a heraldic Mooress that symbolises nobility. Elizabeth was closer in look to the Moorress than the whitened portrait suggests.
George Keppel by Francis Cotes (1764), Earl of Albemarle. A whitened portrait.
George Keppel by Francis Cotes (1755). The engraving showing the dark complexion was taken from this painted portrait. The engraving shows the dark skin on the painting, presumably just after its production. So the claim of darkened paint is wrong and hereby disproven. This portrait is also wrongly named wiliam Keppel, who was the son of George Keppel. But it shows George Keppel in his younger years (1755)
The dark complexioned engraving, showing what the 1755 painting looked like. The family was described as 'swarthy, 'so they looked very dark skinned and were portrayed like this.
GEORGE KEPPEL OR THE
WHITENING OF BROWN AND BLACK NOBLES AFTER 1848
[George Keppel by Francis Cotes (1764)] A
whitened over paint. Engraving after the original painting showing the true,
dark complexion. This engraving was presumably made shortly after the painting
was produced, before the paint supposedly ‘darkened.’ The family was famous for
being ‘swarthy.’ His uncle Aarnoud Joost van der Duyn van Maasdam was described
as ‘chimney sweeper’ and‘black brown.’
He was compared by Isabelle de Charrière in her poem ‘A son teint noir et
basané’ (1776)(Courtney 1993) with the Greek war god Mars, who was depicted as
dark, and came from Africa.Adam van der
Duyn, Aarnoud Joost’s father was compared to Adam, who was from the earth. (Van
der Aa) So presumably black as the earth.
General William Keppel by Francis Cotes (1755).
Another whitened portrait. Resembles the engraving and William is George’s son
born in 1772. The internet link is wrongly named. Adam Francois Jules van der
Duyn, grandson of Aarnout Joost.
[Baron Aarnoud Joost van der Duyn van
Maasdam (1718-1785)], described by James Boswell as ‘chimney sweeper.’ And
‘black brown’ by De Charriere.(Courtney 1993) But looking white, so the
painting was ‘restored’ or whitened with beige and pink. This painting I saw in
The Hague, in storage. The RKD wanted more pictures of the Van der Duyn
Collection, but the quest ended. They were probably shown the collection and
took fright at the black faces of the highest nobility. The Duchess of
Cornwall, Camilla Parker Bowles, is a descendant of this family.George Keppel, an engraving showing
the swarthy complexion, which his family was famous for. I found this image on
the web, and after I start writing about it, it disappeared. I reintroduced a
print, but did not register its date or provenance. Now I realize that with the
date of the print I can proof that the painting already showed a dark
complexion. The painter painted a dark, swarthy person. This will be the next
format of my emissions on this head. The engravings proof what the paintings
looked like on production, while the persons or relatives were described as
dark, brown, black or even swarthy.
George Keppel, 3rd Earl of Albemarle, From Wikipedia,
George Keppel, 3rd Earl of Albemarle. General George Keppel, 3rd Earl of
Albemarle KG PC (London, 8 April 1724 – 13 October 1772), styled Viscount Bury
until 1754, was a British soldier nobleman best known for his capture of Havana
in 1762 during the Seven Years' War. He came from a wealthy and powerful Dutch
family from Gueldres close to the Princes of Orange that had moved to England
in the seventeenth century. His father was Willem van Keppel, 2nd Earl of
Albemarle. Through his mother, Lady Anne Lennox, he was a great-grandson of
King Charles II of England. He started his military career in the Netherlands
fighting against the French and in 1745 participated in the Battle of Fontenoy
as an aide to Prince William, Duke of Cumberland. Historici.nl: DUYN (Aarnout Joost van der), geb. 's
Gravenhage 18 Jan. 1718, overl. Breda 28 Sept. 1785, zoon van Adam Adriaan
(kol. 541), heer van 's Gravenmoer, Maasdam, Benthorn en Hinkelenoord, werd 2
Nov. 1744 kolonel-commandant van het regiment gardes dragonders, 5 Oct. 1747
chef van dit regiment, 30 Dec. 1747 luitenant-generaal, 9 Juni 1761 gouverneur
van Breda en 10 Mei 1771 generaal der cavalerie. Voorts was hij hoogheemraad
van Delfland, luitenant-houtvester en meesterknaap van Holland, terwijl hij in
1755 beschreven was in de ridderschap en edelen van Holland. Hij heeft nog
juist den tijd mede beleefd, waarin de patriotsche partij het gezag van den
stadhouder begon af te breken; doch hij schijnt geen krachtige persoonlijkheid
te zijn geweest, om dat gezag te helpen schragen.17 April 1742 huwde hij te 's Gravenhage Anna
Margaretha van Aerssen, aldaar geb. 9 Aug. 1713 en overl. 1 April 1803, dr. van
François (2) heer van Sommelsdijck en Maria van Aerssen tot Wernhout (III kol.
12).(Anna Margaretha van Aerssen was een kleindochter van Goveneur Cornelis van
Aersen van Sommelsdijck en wordt door haar neef james Boswell liefdevol
beschreven als ‘black as chimney.’) (Courtney 1993)
Isabelle de Charrière (Belle de Zuylen). A biography.
Oxford, Voltaire Foundation, 1993. 810 p. There Are No Letters Like Yours. Janet
Whatley and Malcolm Whatley, The Correspondence of Isabelle de Charrière and
Constant d'Hermenches, Bison Books, 2000. Biographisch Woordenboek (Van der Aa)