tag:blogger.com,1999:blog-14016248915578251792024-03-21T16:53:43.919-07:00Blue Blood Is Black Blood (1100-1848)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.Egmond Codfriedhttp://www.blogger.com/profile/10597005835134961469noreply@blogger.comBlogger54125tag:blogger.com,1999:blog-1401624891557825179.post-71038027698449174412013-12-04T08:29:00.000-08:002013-12-04T08:45:52.311-08:00THE OBSCURED ORIGINS OF BLACK PETE<br />
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">[Black man
wearing white shoes][Black Sint-Nicolaas][Sint en Piet][William I of
Orange][George Keppel][General Dummouriz][King Louis XVI] [King Charles II
Stuart][Charlotte Sophie of Mecklenburg-Strelitz][Madame de Staël][Live
flaying][Scientific racism][Nobles as apes]<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">THE
OBSCURED ORIGINS OF BLACK PETE<o:p></o:p></span></h2>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">The
constant upheaval generated by Blacks around Black Pete for the past twenty
years in The Netherlands, nor the Dutch bid to have their Sinterklaasfeest
preserved on the UN list as a living tradition, did inspire Dutch researchers
of the ‘Instituut voor volkscultuur en tradities’ or ‘De Meertens Instituut’ to
find the origins of The Netherlands foremost tradition, the Sint Nicolas
celebration on the 5<sup>th</sup> of December, with at his heart the obscure
but dominating figure of Black Pete, or Zwarte Piet. They state not to know its
origins or its why. So, it's up to the group that feels itself defamed,
insulted and targeted by this curiously undocumented tradition to propose
scientific answers. <o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Because of
the serious implication of this question we turn to Numa Dennis Fustal de
Coulanges writing about the finding of the ancient Greek state, and European
state formation and feudalism. Martin Bernal wrote about how the Greek
civilization was deliberately turned white in 1848. David MacRitchie wrote
about Black nations among the Ancient and Modern Britons. While Alison MacQueen
wrote about the Rembrandt Cult in France that coincided with the year of 1848,
of Europe’s Final Revolutions that emancipated 97% of its population, the
disenfranchised people. Sheikh Anta Diop wrote about Blacks as finders of the
human civilisation.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">The
intelligent, informed observant will notice certain infantile and irrational
approaches among those who advocate this under described tradition. That it
should not be judged, as it’s just a fun and innocent children’s event. Yet
it’s organised by grown ups. That the children will become confused if
Pieterbaas is omitted, so changing anything is a great evil. Blacks are
ridiculed as objecting to the word ‘Black’ in ‘Black Pete’ as they would object
to the word ‘Blank’ as in ‘Blanke vla,’ as a racist phrase. A person stated
Jane Austen could not have been Black, as she utilized expressions as ‘a black
day.’ Or slave masters could never have been Blacks, as Blacks would not
enslave other Blacks. Or even that Emma Woodhouse described in Emma (1816) as
‘loveliness itself’ could thus not be a Black woman. Next a tradition that is
not explained is yet defended as good. Premier Mark Rutte, says the government
will not interfere in the discussion, but he thinks Pete should remain Black,
because he is called Black Pete. This irrational and flippant way of
approaching the most serious questions by the Dutch is really how they think
and view the world, without conscious malicious intentions; yet with disastrous
results. Young educated Dutch are still pro-slavery and pro-VOC, in spite of
anti-slavery rhetoric of the Dutch government and education. So while some
might hear an anti-slavery stand, the message as received by whites is
pro-slavery. Blacks are thus marked as inferior slaves, and a conquered
nation.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Remarkably,
Sint Nicolas is a Catholic saint who originated in present day Turkey, which is
celebrated in a West European protestant country. And it is a tradition with a
dominant Black figure at its core, fiercely celebrated by a white nation.
However there are many glimpses to its origins. We know that Black Pete was
added around 1848, when the whole of Europe experienced its Final Revolutions
or The Spring of Mankind, when the majority of 97% was finally emancipated and
France, Europe’s leading nation, got universal male suffrage. In Holland, the
constitution was amended by limiting the rights of the nobility. So only in
1848 the aims of the French Revolution (1789-1794) were fully achieved, namely
equality for all. The bourgeoisie stole the French Revolution, from the third
estate, by not honouring its promises of equality. The bourgeoisie belonged to
the second estate along with the nobility and together they numbered 3%. The
first estate was the church, dominated by the nobility. In Britain, a movement
called Charterism achieved similar reforms, and both Jane Austen’s (1775-1817)
and Charlotte Brontë’s (…) novels should be understood with this call for
social change in mind. Both Emma (1816) and Jane Eyre (1848) present
comprehensive political views of a post revolutionary Britain. The bourgeoisie
or gentry traditionally hated the nobility, while the nobility looked down on
the bourgeoisie, by even putting gentry on an equal level with whites. Still
they would often be intermarried as the nobility craved the money from trade
(and slavery), which was an occupation that was forbidden to them. So, nobles
married heiresses from trade, like Othello and Desdemona, and thus imparting
nobility and class to the bourgeoisie who craved these titles. <o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">The central
question to understand Black Pete is: Why was there a need in Europe to invent,
to introduce human races, and make a racial hierarchy? What did Blacks do to
whites to merit such all out hostility? When did this confrontation between
Black and white happen and where? All researchers accept these questions as a
given, as if racism is a natural human (economical) reflex, and fail to
pinpoint its introduction in time, to serve a purpose. And if there were no
Blacks in Europe, against which evil and menacing Blacks was all this hatred
directed? Who were these evil Blacks that were compared to apes, stigmatised as
ugly, cruel, malodorous, vindictive and stupid. Bernal finds that Ancient
Greece was only turned white in 1848, and he takes great notice of racist
viewpoints harboured by its perpetrators, but he fails to incorporate the
overwhelming aim of the Final Revolutions of 1848 in his assessment: namely the
emancipation of whites in Europe from their brown and black complexioned elite
casts. <o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">As there is
a strange sub discussion whether Black Pete actually signifies Blacks, we are
forced to look into the question of race. Blacks in Europe are no citizens, and
in Holland, so-called ‘foreigners’ are called ‘allochtonen,’ as they are not
from the soil, and belong to another god. The dominating way of looking at
nation building, that harks back to the ancient Greeks dealing with Barbarians.
Because the Blacks are a minority, and are not citizens, complicated with many
complaints of institutional Racism against Blacks, this celebration seems like
the culmination of all present and historical malice (slavery) towards Blacks.
Human Races were invented as a non-scientific concept around 1760. Along with a
hierarchy between the so-called races which curiously numbered three, five,
seven and hundreds. Most ‘scientists’ and Enlightenment philosophers regarded
Blacks as degenerated whites, just above apes, degenerated humans who were
morally evil. There exist 17<sup>th</sup> century paintings with the nobility
depicted as beautifully dressed apes. So scientific racism can be viewed as an
invention, a religion; a liberation ideology to teach whites not to venerate or
promote their Black oppressors. <o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">For our
purpose we will settle on leading anthropologist J.F. Blumenbach (1755-1840)
who’s teachings somehow prevailed, that ‘There were no Blacks,’ in Europe.
Members of the Ethiopian Race were firmly located in Africa. The ones presumed
to be European Blacks were degenerated members of the Caucasian Race, but who
were still whites. They externally degenerated, thus blackened because of the
sun, the air, food, ointments and family traits. Blumenbach claimed all babies
were born white, even the ones who were born from Blacks. However, Blumenbach,
who was employed by the King of Hanover and Britain, did not look down upon
Blacks. He did not find them inferior, but of ugly complexion, and he owned a
library of exclusively Black writers like Gustavus Vassa, Phyllis Weathly,
Capitein, and Pancho Sanches.???? He did not address the fact that these
so-called degenerated whites were mostly found among the nobility and
bourgeoisie. This glaring omission should be regarded as a tell tale indication
of the purpose of his teachings, hiding the existence of Blacks in Europe who
were the elite. Most revealing; a portrait of Blumenbach shows a very dark
skinned person; while other images show him as white.<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">The greatly
respected Blumenbach however was a pious liar but who brought peace and unity
among warring fractions, by synthesising many opposing views into one unity
that was pleasing to everybody. He claimed to base his racial taxonomy on scull
shape, not complexion. Yet today one notices images that show Black skin, or
Black facial traits that go together with a Black scull, and those cause
embarrassment, and are thus excluded from view. An ordinary layperson will look
at a totally black complexioned Maurice of Saxony and think him to be a white
man. Yet an image in profile further confirms he has subnasal prognathism, full
lips and a broad, flattened nose. Afterwards whitened portraits by Sir Ramsay
of Queen Charlotte Sophie of Mecklenburg, wife of George III, who was famous
for her classical African (Black) looks, cause remarks like ‘She only looks
Black. She is not Black’ but there are also ideas that her mother was fathered
by Ibrahim Hannibal, Alexander Pushkin’s African great-grandfather, while on
his way from Paris to Moscow. Yet even Hannibal was supposed to be an East
African, so an African Caucasian. But his great-grandson Alexander Pushkin
ironically called himself ‘an ugly Negro.’ These supposedly ‘Black looking’
whites were next also found in Egypt, so the founders of civilization, the
pyramid builders; were declared to be whites. So Blacks were eliminated from
history by way of definition. The fictitious category of ‘True Negroes’ was
introduced, while all the other blacks were called black Caucasians: thus
whites. In this way some will deny Pieterbaas who is actually painted black, to
represent a Black. <o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">This brings
us to the historical portraits by old masters. Most handbooks about the
restoration of paintings will inform us about the need of early restorations
because the paint had darkened. Articles and scientific reports often claim
that the early restorers did not keep score, so little is known from their
practices. Yet, we can still see the dark brown and black layers under the
beige and pink layers. And we can see the highlights to make dark hair look
fair or even blond. We can see how the facial hair was repainted on top of the
beige layers and how beige skin was painted around pearl necklaces, while we
should expect the pearls to have been painted on top of the skin layers.
Interestingly, engravings were made after freshly painted portraits for easy
duplication, and they often show the original dark skin, that the painting
today does not show as it was ‘restored.’ So either the paint darkened
overnight or the painter intended to paint dark persons. To ascertain this we
turn to biographies that describe a historical persons looks, and there we find
adjectives and nicknames, like dark, brown, black, black as chimney, chimney
sweeper, not the white hands, swarthy, The Black Boy, very dark with black eyes
and dark hair, basané or dark brown, noir et basané or black brown, …So a dark
engraving bourns out the description as brown or black. William I of Orange
(1533-154) was described (Beresteyn 1933: 1) as ‘More brown then white’ and<span style="mso-spacerun: yes;"> </span>‘Bruyn van verve ende baerbe’ (brown of
complexion and the beard). He has engravings showing the very dark skin,
frizzled hair as well as others that show his classical African facial traits. <o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">These noble
and royal persons are then the ‘degenerated’ whites Blumenbach defined as
Caucasians, meaning whites. In 1848, the revolutionary governments inherited
art collections showing the Ancien Regime as brown and black of skin. This was
explained as darkened paint and done away with by restoration to restore the
supposed white looks. Alison MacQueen (2003) writes about a Rembrandt Cult in
1848 to falsely turn Rembrandt in a painter of the third estate. But a
photograph (1880) by A.Braun of The Syndics of the Cloth makers Guild (1620)(De
Staalmeesters) shows most figures as brown and black. They also show classical
African facial traits that usually go together with a brown or black
complexion. The second from left, Joachim de Neve, is very black of skin and
has the strongest Classical African looks. Now all of them have whitened skin. <o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">This
blackness can also be seen on photos of the Van Aerssen Collection that were
only restored after 1934. Anna Margaretha van Aerssen, a granddaughter of
governor Cornelis van Aerssen belonged to the richest Dutch family in the 17<sup>th</sup>
century, was lovingly described by her cousin James Boswell as ‘Mrs Maasdam
black as chimney. No image prevails. Her husband baron van der Duyn van Maasdam
was declared by Boswell as ‘Her husband chimneysweeper.’ Isabelle de Charrière
(1740-1805)(Belle van Zuylen) informs her lover D’Hermenches that the Van der
Duyn family was famous for being ‘swarthy.’ She wrote a poem about baron
Maasdam ‘About his brown black complexion,’(1776) and compared him to Mars. An
engraving of his cousin George Keppel of Albemarle shows the dark complexion,
while the original painting today shows a white person. Sir Joshua Reynolds
shows his sister Elisabeth Keppel with a heraldic Mooress or Negress. Jane
Austen was described as ‘a brunette of complexion,’ and her personages are
‘light brown or sallow, brown, very brown and black.’ Like in Emma (1816) ‘Mr.
Elton, black, spruce and smiling.’ She speaks of ‘peculiar’ and ‘distinguished’
looks. And one may conclude that her Black facial traits were seen as proof of
‘pure’ blood, and proof of ‘noble’ blood. So, the European elite based their
superiority and looks on having Black ancestors.<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">The many
little or not so little Moors in aristocratic portraits since the Renaissance
are never properly explained and it’s often claimed ‘that we do not know what
they mean.’ They are also found on many family heraldic crests. And they
resemble the images of Balthasar, the Black Magi or King at the birth of Jesus,
Black Madonna’s and Black Saints like St. Maurice. St. Nicolas was also
presented as very dark of skin. The famous statue of St Maurice was erected in
1120. Black Madonna’s are from 1100-1200, but today we often are presented with
copies that show altered faces, as the originals were destroyed with the French
Revolutions as symbols of the Ancient Regime. The elite was Black so they saw
god and saints as Black. These new images coincide with the finding of
Europeans states in 1100-1200, and the establishment of the modern nobility.
So, the heraldic Moors are symbols of high nobility, which is according to De
Boullainvilliers the only true nobility. De Boullainvilliers also claims that
the French nobility that descended from the Franks were of ‘another race’ than
the French. Black Pete resembles a heraldic Moor, and he wears noble fashions,
so the use of Black Pete points to the pre-revolutionary era, before 1848, when
brown and black skinned nobles and bourgeoisie despotically ruled over white’s,
who were never considered indigenous Europeans, but immigrants from Central
Asia. From Greek times, they were the Barbarians, slaves and serfs or villains.
Until 1848, there was a European trade in human leather and we may suppose it
were the skins of the whites, who were the outcasts, which were used as shoe
leather by the elite. Louis XVI was presented with a pair of slippers made of
human leather, on the eve of the French Revolution.<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">So the real
tradition of Sint Nicolaas serves the need to built a Dutch nation, and thus to
teach little white children who can distinguish between complexions but do not
make any qualification, that Blacks are ‘the others.’ The ones who are not part
of their white nation, who are their enemy. The Sint Nicolaas festivities last
2 months each year, and are conducted amid national hysteria, on the taxpayers
purse to the tune of euro 330.000 par naval entrance. It serves as a reversal
of the Moresque festivals and Moorish dance pageantry, still prevailing in
Britain from the Renaissance Era. Autistic children seem to suffer the most of
this allegedly beneficial, as they remain fearful to run into Black Pete after
they have witnessed his threatening arrival, but not his departure. Today a EU
commission has reported and severely commented on the high level of Racism in
The Netherlands. This useful cultural racism must somehow be conveyed to every
new generation and this is why they have this tradition, and do not recognise
or admit to racism. Racism is thus a necessary, and functional part of nation
building in Holland. The Dutch concept of a nation is of one ethnicity, namely
whites. Some emphasis is still put on its Christian heritage. Saudi Arabia does
not admit Jews or Christians on its soil. Ugandan leader, Idi Amin sent Indians
in exile. So, in democratically ruled and civilised Holland there is no room
for Blacks, or Muslims, that today are openly admonished to return to their own
countries. Because of the killings in the WWII, we know that the Dutch also do
not welcome Jews, Sinti or Roma, and gays, while some old and local
Sinterklaasfeest traditions target women. In the Dutch media, Blacks and
Muslims are also conveniently stigmatised as gay bashers and oppressors of
women.<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">We may
conclude that Black Pete as part of the greatest living tradition of the
Sinterklaas celebration harks back to the secret but irrepressible Black Rule
and Black Superiority Era in Europe (1100-1848) and it ended when Black Pete
came into existence. But which true meaning is judged so detrimental to Dutch
ideas of nation building and its concomitant: white supremacy; that Dutch
government institutions claim not to know its origins, even though the proof is
everywhere.<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span><span lang="EN-GB" style="mso-ansi-language: EN-GB;"></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">4 December
2013<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Egmond
Codfried<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Curator
Suriname Blue is Black Blood Museum<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">The Hague<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Sources:<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">The Rise of
The Cult Of Rembrandt in 19 century France, by Alison MacQueen (2003)<o:p></o:p></span></div>
<br />
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Tanned Human
skin, Lawrence S. Thomas (1946)<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Ancient and
Modern Britons, by David MacRichie (1884)<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Ancient
City, by Numa Dennis Fustal de Coulanges (1864) <o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Pre-colonial
Black Africa, by Sheikh Anta Diop<o:p></o:p></span></div>
<br />
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Black
Athena, The Afro-asiatic roots of classical civilisation, by Martin Bernal(1987)<o:p></o:p></span></div>
<br />
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Black
Athena Revisited, by Mary Lefkowitz (1996)<o:p></o:p></span></div>
<br />
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">The Black
and brown complexioned, Black Orange family, by Egmond Codfried (2013)<o:p></o:p></span></div>
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Appendii: <span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
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Sinterklaas<o:p></o:p></div>
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Meerten Instituut > Databanken > Feesten >
Sinterklaas<o:p></o:p></div>
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Op 5 december is het in Nederland sinterklaasavond. Zo'n 65%
van de bevolking viert dan de 'verjaardag' van Sinterklaas en men geeft elkaar
uit naam van de goedheiligman cadeautjes. Ten onrechte denkt men vaak dat dit
een eeuwenoude traditie is. Het feest van Sint-Nicolaas bestaat weliswaar al
meer dan 700 jaar, maar veel elementen van de huidige sinterklaasviering hebben
pas vanaf omstreeks 1850 vorm gekregen. Zo is de nu algemene sinterklaasavond
of pakjesavond in huiselijke kring op 5 december van betrekkelijk recente
datum. Volgens de heilige kalender van de katholieke kerk is 6 december de
gedenkdag van de heilige Nicolaas en nog tot na de Tweede Wereldoorlog vonden
kinderen op de morgen van 6 december de geschenken die Sinterklaas hen had
gebracht. Zoals bij zoveel feesten, werd echter ook de vooravond van de
eigenlijke feestdag bij de viering betrokken: sinterklaasavond. Dan hadden
volwassenen een gezellig samenzijn. In gegoede kringen, en vooral in de steden,
gaven volwassenen elkaar op die avond al in de negentiende eeuw geschenken. Dit
gebruik verspreidde zich pas gedurende de eerste helft van de twintigste eeuw
over het hele land en naar andere sociale lagen van de bevolking. Kinderen
werden steeeds meer betrokken bij deze pakjes- of surpriseavond. Thans geldt 5
december algemeen als de 'verjaardag' van Sinterklaas.<o:p></o:p></div>
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Geschiedenis<o:p></o:p></div>
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Over de geschiedenis van het feest van Sint-Nicolaas tot aan
de negentiende eeuw zijn we maar matig geïnformeerd. Er is weinig historisch
onderzoek gedaan naar hoe het feest zich in de loop der tijd heeft ontwikkeld.
Wel hebben onderzoekers zich vanaf de negentiende eeuw beziggehouden met de vraag
waarom een rooms-katholiek heiligenfeest als een niet-kerkelijk feest is
blijven voortbestaan. Sommigen zochten de verklaring in de mogelijke invloed
van oud-Germaanse elementen in het feest zonder dat ze daar aanwijsbare bronnen
voor hadden. Andere, meer serieuze auteurs hebben op grond van historisch,
literair en kunsthistorisch bronnenmateriaal vooral gewezen op de rol van de
verering van de heilige Nicolaas op kloosterscholen bij de verspreiding van het
feest (K. Meisen, C. Méchin, W. Mezger, L. Janssen). Weer anderen hebben de
ontwikkeling in de opvattingen over de opvoeding (J.L. de Jager) benadrukt. <o:p></o:p></div>
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<o:p> </o:p></div>
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Nicolaas<o:p></o:p></div>
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<span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
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Er is vrijwel niets bekend over het leven van Nicolaas. Hij
was in de vierde eeuw bisschop van Myra in Klein-Azië (nu Zuidwest-Turkije). Al
in de zesde eeuw werd hij als heilige vereerd in het Byzantijnse Rijk en in de
tiende eeuw ook in het westen. Nadat zijn relieken in de elfde eeuw naar Bari
(Italië) waren overgebracht, verbreidde zijn verering zich over heel
West-Europa. De vele wonderverhalen die na zijn dood rond zijn leven
ontstonden, maakten Nicolaas tot beschermheilige van alle mogelijke groepen in
de samenleving (zeelieden, kooplieden, ongehuwde vrouwen, kinderen, enz.). Het
verhaal bijvoorbeeld dat hij drie kinderen, die door een slager waren geslacht
en in een pekelvat waren gestopt, weer tot leven wekte, maakte hem tot de
beschermheilige van kinderen; de legende dat hij drie meisjes redde van de
prostitutie door tot drie keer toe 's nachts heimelijk een zak met goud door
het raam te werpen (als bruidsschat) bezorgde hem het patronaat van ongehuwde
meisjes en hoeren. Het traditionele aan kinderen vertelde verhaal over de
nachtelijke bezoeken van sinterklaas waarin hij geschenken komt brengen, gaat
waarschijnlijk terug op deze legende. Patroon van zeevaarders werd Nicolaas
door de vele wonderverhalen over zijn bijstand aan schippers in nood. Zo werd
Sint-Nicolaas een populaire heilige aan wie talrijke kerken werden gewijd en
die in veel plaatsen in Europa werd vereerd.<o:p></o:p></div>
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<o:p> </o:p></div>
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Middeleeuwen<o:p></o:p></div>
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<span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
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Op middeleeuwse kloosterscholen werd de feestdag van
Sint-Nicolaas gevierd door scholieren, zoals Meisen heeft aangetoond op grond
van Noord-Franse bronnen. In de dertiende eeuw werd Nicolaas in Noord-Frankrijk
als patroon van schoolkinderen en als opvoeder van de jeugd vereerd. Tijdens
zijn feest 'verscheen' de heilige in een mirakelspel aan de kinderen, hij
bracht geschenken aan ijverige leerlingen en vermaande luie leerlingen. Ook
kwam het in deze tijd voor dat leerlingen zelf als verklede bisschoppen de
straat opgingen en om geld bedelden, hetgeen met wanordelijkheden gepaard kon
gaan. Via de kloosterscholen hebben deze scholierenfeesten zich verder
verspreid.<o:p></o:p></div>
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Enkele laat-middeleeuwse Nederlandse bronnen (Dordrecht
veertiende eeuw; Utrecht vijftiende en zestiende eeuw) vermelden tractaties aan
schoolkinderen en koorknapen, naast die aan armen op de feestdag van Sint-Nicolaas.
In andere bronnen wordt de viering op straat, buiten kerk en klooster,
beschreven. Net als op vele andere belangrijke kerkelijke hoogtijdagen werden
tijdens het Sint-Nicolaasfeest markten en kermissen gehouden. Daar schonken
jongelui elkaar harten van suikergoed en vrijers en vrijsters van speculaas. In
deze tijd werd ook al de schoen gezet en kon een geheimzinnige hand lekkernijen
strooien in huiselijke kring. Verder organiseerden leden van
Nicolaasbroederschappen (religieuze verenigingen die een belangrijke rol
speelden in de organisatie van de Nicolaasverering) behalve processies en
missen ook maaltijden. De rooms-katholieke kerk verzette zich tegen deze
wereldse uitingen van het heiligenfeest.<o:p></o:p></div>
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Zestiende- en zeventiende eeuw<o:p></o:p></div>
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<span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
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Na de reformatie verbood de gereformeerde kerk de kerkelijke
viering van dit rooms-katholieke heiligenfeest. De pogingen van predikanten en
stadsbesturen om ook het feest op straat en thuis tegen te gaan (wegens
wanordelijkheid en verkwisting) hadden weinig effect, zo blijkt uit diverse
verbodsbepalingen. Als reden voor het voortbestaan van het feest is door
onderzoekers wel aangevoerd dat de overheid niet al te streng optrad omdat ze
om economische redenen belang had bij rust. Ook is de mogelijkheid genoemd dat
het feest al te zeer een plaats had in het relatief vroeg ontwikkelde huiselijk
leven van de stedelingen in de Republiek om het nog te kunnen bestrijden (De
Jager).<o:p></o:p></div>
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Achttiende- en negentiende eeuw<o:p></o:p></div>
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In de periode 1750-1850 werden vanuit de hogere stedelijke
burgerij pogingen ondernomen het sinterklaasfeest te 'beschaven'. De elite
keerde zich in deze tijd van economische achteruitgang tegen leegloperij en
verval en dus tegen de viering van het Sint-Nicolaasfeest op straat.
Daarentegen stimuleerde zij de huiselijke viering. Het feest werd gebruikt om
kinderen aan te sporen tot hard werken op school en tot gehoorzaamheid aan de
ouders in ruil voor een beloning van sinterklaas. Luiheid werd gestraft.
Sinterklaas werd een feest van beschavers en opvoeders.<o:p></o:p></div>
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In de tweede helft van de negentiende eeuw kregen veel
elementen van de huidige viering in Nederland vorm, onder andere onder invloed
van het prentenboekje van de onderwijzer Jan Schenkman. Hierin werden bestaande
en nieuwe elementen, zoals de aankomst van Sinterklaas uit Spanje, zijn intocht
in de stad, bezoek aan school, strooi- en pakjesavond, opvoedkundig met elkaar
in samenhang gebracht in plaatjes en teksten. Later werden daar ook nog liedjes
aan toegevoegd. De burgerlijke sinterklaasviering, zoals die door Schenkman
werd afgebeeld, vond voorlopig alleen nog in de steden plaats.<o:p></o:p></div>
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Twintigste eeuw<o:p></o:p></div>
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De eerste decennia van de twintigste eeuw bestonden er nog
grote regionale en sociale verschillen in de viering van het feest. Pakjesavond
was een stedelijk verschijnsel dat op het platteland nauwelijks voorkwam. In
dorpen werd wel een schoen of klomp gezet met iets voor het paard, maar alleen
in burgerlijke kringen was het pakjesavond en verscheen de Sint ook zelf. Via
scholen vond de invoering van deze nieuwe viering plaats. De scholen gebruikten
Sinterklaas als steun bij de opvoeding en ontleenden er prestige aan. Daarnaast
bood de nieuwe viering een alternatief tegen de wilde vormen van
sinterklaasvieren die nog op het platteland bestonden: het klaasjagen of
sunteklaaslopen. Lawaai makende jongelui trokken potsierlijk verkleed, met
onherkenbaar gemaakte zwarte gezichten langs de huizen. Ze vroegen naar stoute
kinderen, maakten kinderen bang, strooiden pepernoten en vroegen om geld of
lekkers. Eind negentiende, begin twintigste eeuw groeide het verzet tegen dit
wilde gedoe dat gezien wordt als een vorm van bedelarij. Daartegenover stelde
men de nieuwe beschaafde Sinterklaas.<o:p></o:p></div>
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Dit proces van verburgerlijking heeft de uniformering van
het feest in Nederland tot gevolg gehad. Een voorbeeld daarvan is ook de naam
van Zwarte Piet die als enige naam voor de knecht gaat gelden, terwijl er tot
dan toe allerlei regionale benamingen in gebruik waren (zoals Nicodemus,
Assiepan, Hans Moef of eenvoudig Jan de Knecht).<o:p></o:p></div>
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In de loop van de twintigste eeuw begonnen ook volwassenen
onderling cadeautjes met surprises en gedichten uit te wisselen en zij raakten
meer bij het feest betrokken. Aan intochten en schoolfeesten werd in de kranten
steeds meer aandacht besteed. Zo ontstond een nationaal gevoel rond het feest,
dat nog versterkt werd door de uitzendingen van de intocht op de televisie met
name vanaf de jaren zestig.<o:p></o:p></div>
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Sinds de jaren dertig wordt Sinterklaas door de commercie
ingezet als reclamemiddel. Deze speelde in op en versterkte een al opkomende
'verlieving' van het feest als gevolg van veranderingen in de opvattingen over
de opvoeding. De houding tegenover kinderen werd minder hiërarchisch. In de
toenemende gelijke gezinsverhoudingen gingen nu ook kinderen ouders cadeautjes
geven. Tegelijk veranderde de Sint van een strenge opvoeder tot een 'lieve'
Sint die ook stoute kinderen beloont.<o:p></o:p></div>
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In de jaren tachtig zijn actiecomités opgericht die zich
verzetten tegen een vroege komst van de kerstman, tegen de discussies over de
modernisering of afschaffing van de figuur van Zwarte Piet en tegen de
commercialisering van Sinterklaas. Hun doel is Sinterklaas te beschermen tegen
concurrentie en 'vreemde' invloeden. In een artikel in NRC-Handelsblad op 4
december 2001 is zelfs een voorstel gedaan om Sinterklaas als voorbeeld van
Nederlands immaterieel erfgoed op de lijst van de Unesco te laten plaatsen. Een
feest als Sinterklaas dat door zovelen wordt gevierd laat zich echter moeilijk
beschermen, want het is een cultureel proces dat voortdurend in beweging is.
Sinterklaas zal blijven veranderen, onder andere door deelname van nieuwe
groepen mensen aan het ritueel, zoals dat in de loop van de geschiedenis van
het feest steeds weer het geval is geweest.<o:p></o:p></div>
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<span lang="DE" style="mso-ansi-language: DE;">Literatuur:<o:p></o:p></span></div>
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<span lang="DE" style="mso-ansi-language: DE;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span lang="DE" style="mso-ansi-language: DE;">K. Meisen,
Nikolauskult und Nikolausbrauch im Abendlande. Eine
kultgeographisch-volkskundliche Untersuchung (Düsseldorf 1931). <o:p></o:p></span></div>
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<span lang="DE" style="mso-ansi-language: DE;"><o:p> </o:p></span></div>
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<span lang="FR" style="mso-ansi-language: FR;">C. Méchin, Saint
Nicolas. Fêtes et traditions d'hier et d'aujourdhui (Paris 1978). <o:p></o:p></span></div>
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<span lang="FR" style="mso-ansi-language: FR;"><o:p> </o:p></span></div>
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J.L. de Jager, Rituelen. Nieuwe en oude gebruiken in
Nederland (Utrecht 2001).<o:p></o:p></div>
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<o:p> </o:p></div>
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<span style="mso-spacerun: yes;"> </span>Eugenie Boer-Dirks,
'Nieuw licht op Zwarte Piet. Een kunsthistorisch antwoord op de vraag naar de
herkomst van Zwarte Piet', Volkskundig Bulletin 19 (1993) 1-35. <o:p></o:p></div>
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<o:p> </o:p></div>
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L. Janssen, Nicolaas, de duivel en de doden (Baarn
1993).<span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
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<o:p> </o:p></div>
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<span lang="DE" style="mso-ansi-language: DE;">W. Mezger, Sankt
Nikolaus zwischen Kult und Klamauk (Ostfildern 1993). <o:p></o:p></span></div>
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<span lang="DE" style="mso-ansi-language: DE;"><o:p> </o:p></span></div>
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Mirjam van Leer. Geven rond Sinterklaas. Een ritueel als spiegel
van veranderende relaties (Amsterdam 1995). <o:p></o:p></div>
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<o:p> </o:p></div>
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John Helsloot, 'Sinterklaas en de komst van de kerstman.
Decemberfeesten in postmodern Nederland tussen eigen en vreemd',Volkskundig
Bulletin 22 (1996) 262-298. <o:p></o:p></div>
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<o:p> </o:p></div>
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Gerard Rooijakkers, 'Sinterklaas en de donkere dagen voor
Kerstmis. De commercialisering van decemberrituelen', in: Huub de Jonge (red.)
Ons soort mensen. <span lang="DE" style="mso-ansi-language: DE;">Levensstijlen in
Nederland (Nijmegen 1997) 239-272. <o:p></o:p></span></div>
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<span lang="DE" style="mso-ansi-language: DE;"><o:p> </o:p></span></div>
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<span lang="DE" style="mso-ansi-language: DE;">John Helsloot,
'Die Nationalisierung des Nikolausfestes in den Niederlanden im 20. Jahrhundert.
Eine Skizze anhand der Fragebogen des Meertens-Instituts von 1943 und 1994',
Rheinisch westfälische Zeitschrift für Volkskunde 45 (2000) 217-244. <o:p></o:p></span></div>
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<span lang="DE" style="mso-ansi-language: DE;"><o:p> </o:p></span></div>
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John Helsloot, '5 December. Sinterklaas en nationale cultuur
in Nederland'. <span lang="DE" style="mso-ansi-language: DE;">Skript 24 (2002)
55-68.<o:p></o:p></span></div>
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<span lang="DE" style="mso-ansi-language: DE;"><a href="http://www.meertens.knaw.nl/meertensnet/wdb.php?url=/feesten/sinterklaas.html"><span style="color: blue;">http://www.meertens.knaw.nl/meertensnet/wdb.php?url=/feesten/sinterklaas.html</span></a><o:p></o:p></span></div>
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<span style="color: black; font-family: "Verdana","sans-serif"; font-size: 9pt;"><a href="http://www.volkscultuur.nl/"><span style="color: #0000aa; text-decoration: none; text-underline: none;"><v:shapetype coordsize="21600,21600" filled="f" id="_x0000_t75" o:preferrelative="t" o:spt="75" path="m@4@5l@4@11@9@11@9@5xe" stroked="f">
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</o:lock></v:path></v:stroke></v:shapetype><v:shape alt="Nederlands Centrum voor Volkscultuur en Immaterieel Erfgoed" href="http://www.volkscultuur.nl/" id="_x0000_i1025" o:button="t" style="height: 50.25pt; width: 466.5pt;" type="#_x0000_t75">
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Sinterklaas op de Nationale Inventaris Immaterieel Cultureel
Erfgoed!<o:p></o:p></div>
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Nederland leek de afgelopen dagen wel een bijenkorf of
misschien zelfs een wespennest. Zwarte Piet<span style="mso-spacerun: yes;">
</span>staat ter discussie en is zelfs onderwerp van aandacht van de Verenigde
Naties. ‘Het Sinterklaasfeest is racistisch en kan maar beter verdwijnen …’ Dat
is in ieder geval de opinie van de voorzitter van VN mensenrechten commissie
die zich nu over het probleem buigt. Aanleiding was een klacht vanuit Nederland
dat ons land mogelijk het Sinterklaasfeest zou willen voordragen voor de UNESCO
lijst van het immaterieel erfgoed.<o:p></o:p></div>
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Een levende traditie<o:p></o:p></div>
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<span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
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De discussie loopt hoog op, een teken dat het
Sinterklaasfeest bij zowel voor- als tegenstanders veel emotie oproept. Het
minste dat je er van kan zeggen is dat het een levende traditie is, die niemand
onverschillig laat. Wat we er bij het VIE van hebben geleerd is dat het
overgrote deel van de Nederlandse bevolking graag wil dat het feest voor de
toekomst behouden blijft, liefst in ongewijzigde vorm. De vraag is nu: hoe
kunnen we daar het best voor zorgen? UNESCO wordt daarbij nu soms als
tegenstander gezien, als de criticaster van buiten. Het VIE ziet UNESCO veeleer
als bondgenoot. Het nieuwe, door Nederland ondertekende UNESCO Verdrag ter
Bescherming van het Immaterieel Cultureel Erfgoed is er immers op gericht om het
respect voor elkaars tradities te versterken en een kader te bieden waarin deze
tradities behouden kunnen blijven voor de toekomst. Levensvatbaar houden
betekent vooral: werken aan je tradities, zodat ze ook voor toekomstige
generaties hun waarde kunnen behouden.<o:p></o:p></div>
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In weerwil tot wat de VN mensenrechtencommissie lijkt te
denken, is er nog geen sprake van een internationale voordracht van het
Sinterklaasfeest voor de internationale UNESCO lijst. Dat zou ook niet kunnen.
Nederland heeft de conventie pas midden vorig jaar ondertekend. Nederland is
begonnen met het aanleggen van een Nationale Inventaris Immaterieel Cultureel
Erfgoed. Nu hier een goed begin mee is gemaakt - er staan inmiddels zo’n
veertig tradities op de Nationale Inventaris - heeft de Nederlandse regering
inmiddels ook te kennen gegeven dat Nederland in de toekomst ook internationaal
wil gaan voordragen. Maar dat vergt een hele procedure en de Nederlandse
regering is nog druk doende om na te denken hoe we dit het best kunnen doen.
Pas daarna volgt de vraag: Wat zou Nederland kunnen voordragen?<o:p></o:p></div>
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De Nationale Inventaris<o:p></o:p></div>
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<span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
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Ondertussen heeft het bij velen wel verbazing gewekt dat het
Sinterklaasfeest nog niet op de eigen Nationale Inventaris van het Immaterieel
Erfgoed staat. We kunnen nu zeggen: er is wel een voordracht, namelijk van het
Sint Nicolaas Genootschap, maar die voordracht heeft nog niet tot een erkenning
geleid. De reden hiervoor is dat wij goed willen nadenken over de rol van
Zwarte Piet in deze traditie. We hebben het Sint Nicolaas Genootschap gevraagd
er nog eens zorgvuldig naar te kijken en er rekening mee te houden dat deze
voordracht ook controverse kan oproepen. Dat onze raad niet helemaal ongegrond
was, blijkt uit de storm die inmiddels is ontstaan over Zwarte Piet, nog
voordat de voordracht voor het Sinterklaasfeest zelfs maar bekend was.<o:p></o:p></div>
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<span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
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Een toekomst voor het Sinterklaasfeest<o:p></o:p></div>
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<span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
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Het is nu tijd om het stof te laten neerdwarrelen en te
kijken waar we nu staan. Over en weer zijn de emoties gelucht. Het biedt
hopelijk ook ruimte voor een nieuwe start. Want dat het overgrote deel van de
Nederlandse bevolking zich verbonden voelt met dit feest en het wil behouden is
duidelijk. Wij hebben zelf ook die emoties en natuurlijk heb je dan, zeker als
de kritiek van buiten komt, de neiging om de stekels overeind te zetten. Na de
vele felle geluiden waren er overigens ook enkelen die opriepen tot rust en
meer bezadiging. Zoals bijvoorbeeld hoofdpiet Eric van Muiswinkel, die de
algemene stem verwoordde dat het Sinterklaasfeest natuurlijk moet blijven, maar
dat we er wel aan kunnen werken om sommige gevoeligheden te verzachten,
bijvoorbeeld door geleidelijk aan Zwarte Piet wat minder zwart te maken. En
zoals Mercedes Zandwijken van de Stichting Keti Koti Tafels, die opriep tot een
dialoog waarin wij elkaars gevoelens en opvattingen serieus nemen.<o:p></o:p></div>
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Een rijk verleden<o:p></o:p></div>
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<span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
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Het Sinterklaasfeest heeft een rijke traditie, als
kinderfeest met cadeautjes gaat het terug tot in de zestiende eeuw. Sinterklaas
was toen al een kindervriend, die in de nacht van 5 op 6 december zijn
cadeautjes door de schoorsteen in de klaarstaande kinderschoentjes liet
belanden. Overigens deed hij het toen nog zonder hulp, hij reed in zijn eentje
over de daken. Niemand zag hem daarbij ooit. Op sinterklaasavond zetten de
kinderen hun schoentje, de volgende dag pas vonden ze de cadeautjes die
Sinterklaas ’s nachts bij ze had langs gebracht. Pas in de negentiende eeuw,
toen door zijn voortdurend succes de Sint steeds meer behoefte kreeg aan hulp,
duikt ineens een knecht op aan zijn zijde, overduidelijk donker van kleur.
Waarom Sinterklaas voor een donker hulpje koos zal wel altijd in de nevelen van
de geschiedenis verborgen blijven, duidelijk is wel dat deze toevoeging aan het
Sinterklaasfeest een enorm succes bleek. Het hulp van Sinterklaas kreeg een
steeds prominentere rol en een ook een eigen bijbehorend kostuum, een
pagekostuum met een opvallende baret. Rond die tijd kreeg hij ook een eigen,
oerhollandse naam: Zwarte Piet.<o:p></o:p></div>
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Zwarte Piet was dus een succes. Maar hij was tegelijkertijd,
net als het Sinterklaasfeest zelf, een spiegel voor maatschappelijke
veranderingen. Tot aan ruwweg 1960 waren Sint en Piet bepaald niet figuren om
mee te spotten: immers, wie zoet is kreeg lekkers maar wie stout is de roe.
Vanaf 1960 was deze autoritaire Sinterklaas, en zijn niet minder strenge maar
toch soms ook vrolijke knecht Zwarte Piet, niet meer te handhaven. Net als in
de gezinnen zelf, die vroeger ook een autoritaire vader aan het hoofd hadden,
koos Sinterklaas voor een andere manier van optreden, waarin minder plaats was
voor straf en voor een boeman als Zwarte Piet. Ook de verhouding tussen Piet en
de Sint veranderde, deze werd met de tijd meer gelijkwaardig. Piet ontwikkelde
zich in onze tijd tot de logistiek manager van de Sint, zonder wiens hulp de
Sint hopeloos verloren is.<o:p></o:p></div>
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<span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
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Sint en Piet hebben in de loop van de geschiedenis dus al
heel wat veranderingen ondergaan, langs wegen der geleidelijkheid, dat wel.
Toch kwam er in diezelfde tijd ook bezwaar. Zwarte Piet mag zich dan ontwikkeld
hebben tot de moderne manager van Sinterklaas, maar hij is onmiskenbaar toch
ook de ondergeschikte van Sinterklaas. Onderzoekers wezen er op dat er een hele
beeldcultuur is waarin zwarten altijd, op stereotype wijze, worden afgebeeld in
een knechtrol. Met name Surinaamse Nederlanders storen zich aan de stereotype
wijze waarop Piet altijd in een ondergeschikte rol wordt afgebeeld. Misschien
heb je vreemde ogen nodig om je te realiseren dat dit misschien geen toeval is.<o:p></o:p></div>
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<span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
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Hoe kan je een dergelijke traditie levend houden voor de
toekomst?<o:p></o:p></div>
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<span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
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De toekomst van Sinterklaas<o:p></o:p></div>
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<span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
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De UNESCO Conventie van het Immaterieel Cultureel Erfgoed is
erop gericht om tradities, die gedragen worden door mensen en gemeenschappen,
levensvatbaar te houden voor de toekomst. Daarin past ook het in kaart brengen
van trends en ontwikkelingen die het voortbestaan van de traditie in de weg
zouden kunnen staan. Om levensvatbaar te blijven voor de toekomst, dienen ook
toekomstige generaties zich te kunnen herkennen in de traditie. Als niemand
zich er in kan herkennen, dan sterft de traditie uit.<o:p></o:p></div>
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<span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
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Wat ik opvallend vind, na de vele emotionele mails van
gisteren, dat er bij het VIE nu juist veel mails binnenkomen met suggesties hoe
het Sinterklaasfeest enigszins kan worden aangepast, zodat nog meer mensen zich
erin kunnen herkennen. Een suggestie was bijvoorbeeld om elementen die ook maar
enigszins lijken te verwijzen naar slaven of slavernij rücksichtslos uit de
traditie te verwijderen: dikke lippen, uitbundige oorbellen, Surinaams
sprekende pieten. En waarom moet Piet per definitie altijd<span style="mso-spacerun: yes;"> </span>kroeshaar hebben? Anderen suggereren om Piet
een andere kleur te geven of ook zelfs gewoon wit te laten. Volgens nog weer
iemand anders zou zelfs Sinterklaas incidenteel een andere kleurtje mogen
hebben. Een oudere man met Surinaamse roots vertelt bijvoorbeeld dat hij al
sinds jaar en dag voor Sinterklaas speelt, en dat kinderen nooit moeite hebben
met zijn huidskleur. Wat mij betreft zouden deze en andere plannen zo in het
erfgoedzorgplan kunnen, dat altijd hoort bij een voordracht voor de Nationale
Inventaris. <o:p></o:p></div>
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<o:p> </o:p></div>
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Na een dag vol van verwarring en emoties lijkt Nederland
ineens bol van creatieve ideeën. Misschien moeten we dat als uitgangspunt nemen
en allemaal werken aan een gezamenlijke toekomst voor Sinterklaas. Bij het VIE
proeven we de gedachte dat mensen er alles aan willen doen om het
Sinterklaasfeest te behouden en het zo een welverdiende plaats te geven op de
Nationale Inventaris Immaterieel Cultureel Erfgoed in Nederland. <span lang="DE" style="mso-ansi-language: DE;">Onze steun hebben ze.<o:p></o:p></span></div>
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<span lang="DE" style="mso-ansi-language: DE;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span lang="DE" style="mso-ansi-language: DE;">Ineke Strouken<o:p></o:p></span></div>
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Directeur Nederlands Centrum voor Volkscultuur en
Immaterieel Erfgoed<o:p></o:p></div>
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<o:p> </o:p></div>
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<o:p> </o:p></div>
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<o:p> </o:p></div>
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<o:p> </o:p></div>
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<o:p> </o:p></div>
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<o:p> </o:p></div>
Egmond Codfriedhttp://www.blogger.com/profile/10597005835134961469noreply@blogger.com0tag:blogger.com,1999:blog-1401624891557825179.post-91531305837799786142013-11-27T05:34:00.000-08:002013-12-04T08:46:19.252-08:00MARK RUTTE EN DE SOMALISCHE NEDERLANDERS.......<br />
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<span lang="EN-US" style="font-family: "Garamond","serif"; mso-ansi-language: EN-US;">CALLING PEOPLE ALLOCHTONEN <span style="mso-spacerun: yes;"> </span>TODAY, HARKS BACK TO THE TIMES OF THE ANCIENT
GREEKS WHO CONSIDERED THE WHITES IMMIGRANTS AND BARBARIANS, AND NON-EUROPEANS. <o:p></o:p></span></div>
<br />
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<span lang="EN-US" style="font-family: "Garamond","serif"; mso-ansi-language: EN-US;"><o:p> </o:p></span></div>
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<span lang="EN-US" style="font-family: "Garamond","serif"; mso-ansi-language: EN-US;">Some time ago around 2003 the Somalis suddenly left
Holland for Sheffield. Mark Rutte who is now minister-President was convicted
in 2007 in <span style="mso-spacerun: yes;"> </span>a court of law for
discrimination of Somalis. Because while he was deputy minister, he had
instructed councils to investigate all Somalis in their council for social
securities fraud. I link this to the fact that Somalis complained about the VVD
parliamentarian Hirsi Ali who had an illegal status. Hirsi Ali sat illegally in
the Dutch parliament past her usefulness to discredit Muslims, till she was
deposed by her friend Rita Verdonk, minister of Justice, who needed to score a
big point in her war against the Muslims, who once refused to shake her hand. She,
like most asylum seekers, Hirsi Ali gave wrong or incomplete information on her
application, which according to Dutch law, makes such an application void and
invalid, and the applicator becomes automatically illegal. Hirsi Ali’s sponsor
who knew she was illegal, because she used to be very open about is, is now
leading the national Amro/ABN bank. A Turkish council member in the province, </span><span lang="EN" style="color: #1b1b21; font-family: "Garamond","serif"; mso-ansi-language: EN;">Kıllı (meaning ‘hairy’)</span><span lang="EN-US" style="font-family: "Garamond","serif"; mso-ansi-language: EN-US;">, <span style="mso-spacerun: yes;"> </span>tried to have
him prosecuted, but </span><span lang="EN" style="color: #1b1b21; font-family: "Garamond","serif"; mso-ansi-language: EN;">Kıllı </span><span lang="EN-US" style="font-family: "Garamond","serif"; mso-ansi-language: EN-US;">prosecuted
himself. I tend to link all these matters, but have not found any followers
yet. Today I link this information further with what I have discovered about
the need and the usefulness in labeling brown, black and Muslim Europeans as
‘allochtonen.’ It seems this is most strongest enforced in Holland. Allochtoon
is not just a nasty word, but it is used to tell whites that this group is not
really part of Holland or Europe, and they always have to come second. Daily
media hypes about how evil, murderous and dangerous these allochtonen are,
fixes their differentness in the minds of the whites. So when the state makes a
move against these immigrants the whites will agree, and not protest or resist.
To further clarify my view this can be linked to information about Germany
planning to deport all its Turks to Turkey in the 80-ies. About the same time
when the Dutch started classifying its migrants or foreigners as allochtonen. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Garamond","serif"; mso-ansi-language: EN-US;"><o:p> </o:p></span></div>
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<span lang="EN-US" style="font-family: "Garamond","serif"; mso-ansi-language: EN-US;">I do not find followers because the accusation of
social fraud was leveled by the state. So the<span style="mso-spacerun: yes;">
</span>persons I talk to, tend to speak about other reasons why the Somalis
left Holland en masse, like about the former colonial connections with England.
<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Garamond","serif"; mso-ansi-language: EN-US;"><o:p> </o:p></span></div>
<br />
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<span lang="EN-US" style="font-family: "Garamond","serif"; mso-ansi-language: EN-US;">Sources: <o:p></o:p></span></div>
<br />
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<span lang="EN-US" style="font-family: "Garamond","serif"; mso-ansi-language: EN-US;"><o:p> </o:p></span></div>
<br />
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<span lang="EN-US" style="font-family: "Garamond","serif"; mso-ansi-language: EN-US;"><o:p> </o:p></span></div>
<br />
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Garamond","serif";">Rechtbank: Rutte zette aan tot discriminatie <o:p></o:p></span></b></div>
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<span style="font-family: "Garamond","serif";"><o:p> </o:p></span></div>
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<span style="font-family: "Garamond","serif";">Laatste
update:<span style="mso-spacerun: yes;"> </span>19 mei 2007 <o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif";"><o:p> </o:p></span></div>
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<span style="font-family: "Garamond","serif";"><span style="mso-spacerun: yes;"> </span>HAARLEM - VVD-leider Mark Rutte heeft als
staatssecretaris van Sociale Zaken gemeenten aangezet tot rassendiscriminatie.
Dit oordeel heeft de rechtbank van Haarlem geveld over een oproep van Rutte. <o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif";"><o:p> </o:p></span></div>
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<span style="font-family: "Garamond","serif";">Foto:<span style="mso-spacerun: yes;"> </span>ANP<o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif";"><o:p> </o:p></span></div>
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<span style="font-family: "Garamond","serif";"><span style="mso-spacerun: yes;"> </span>Hij vroeg begin 2003 aan gemeenten om inwoners
van Somalische afkomst extra te controleren op fraude met bijstand. Een
woordvoerder van het ministerie van Sociale Zaken heeft zaterdag een bericht
hierover in de GPD-kranten bevestigd.<o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif";"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif";">In 2003 was Rutte
staatssecretaris op dat departement. Hij adviseerde toen de gemeenten om de
ongeveer 25.000 Somalische inwoners te traceren en op eventuele fraude te
controleren. Aanleiding waren enkele fraudegevallen waarin Somaliërs die in het
Verenigd Koninkrijk werk hadden gevonden ten onrechte in Nederland nog een
bijstandsuitkering ontvingen.<o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif";"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif";">Volgens de
rechtbank in Haarlem was het verzoek van Rutte aan de gemeenten discriminatoir en
in strijd met de grondwet. De rechtbank spreekt van "discriminatie naar
ras, omdat het hier een groep mensen van Somalische afkomst betreft, ongeacht
de nationaliteit van de betrokkenen".<o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif";"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif";">In een brief
adviseerde toenmalig staatssecretaris Rutte hoe gemeenten inwoners van
Somalische afkomst konden achterhalen door te zoeken op de geboorteplaats van
hun inwoners. Zaten deze mensen ook nog eens in de bijstand, dan werd de
gemeente geadviseerd hen extra te controleren.<o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif";"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<br />
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<span style="font-family: "Garamond","serif";">Zaak <o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif";"><o:p> </o:p></span></div>
<br />
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<span style="font-family: "Garamond","serif";">De rechtbank in
Haarlem deed de uitspraak in een zaak die was aangespannen door een Somalische
man die werd gecontroleerd op fraude nadat hij op straat op grond van
uiterlijke kenmerken door sociale rechercheurs staande was gehouden. De man
weigerde vervolgens rechercheurs toegang te geven tot zijn woning, waarna hij
zijn uitkering verloor. Hij vocht dit aan en heeft nu gelijk gekregen van de
rechter.<o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif";"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif";">Volgens het
ministerie van Sociale Zaken heeft de uitspraak geen gevolgen voor de praktijk.
Gemeenten zijn sinds 2004 namelijk zelf verantwoordelijk geworden voor het
opsporen van fraude met bijstand.<o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif";"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<br />
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<span style="font-family: "Garamond","serif";">Reactie <o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif";"><o:p> </o:p></span></div>
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<span style="font-family: "Garamond","serif";">Mark Rutte vindt
dat gemeenten gericht onderzoek naar fraude moeten kunnen doen onder
bevolkingsgroepen. Rutte zei dat zaterdag in een reactie op een uitspraak van
de rechtbank in Haarlem. "Blijkbaar is dat nu wettelijk gezien niet
mogelijk. Het is hoog tijd om de wet te veranderen."<o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif";"><o:p> </o:p></span></div>
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<span style="font-family: "Garamond","serif";"><o:p> </o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Garamond","serif";">Duitsland wilde Turken uitzetten aug 2, 2013 by Petek Namlı
<o:p></o:p></span></b></div>
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<span style="font-family: "Garamond","serif";"><o:p> </o:p></span></div>
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<span style="font-family: "Garamond","serif";">Ooit kwamen onze
opa’s naar Europa om te werken. Terugkeren was het idee, maar de Turken bleven.
Hard werken voor een goede toekomst van de kinderen…Nu een aantal generaties
later hebben we gezien wat de problemen zijn die het met zich meebrengt, maar
moeten we niet ontkennen dat er ook mooie dingen ontstaan. DUITSLAND WILDE
TURKEN DEPORTEREN Nu zo’n 30 jaar later komen er opvallende uitspraken van
Duitsland aan het licht. Bondskanselier Helmut Kohl van de Duitse
Bondsrepubliek heeft eind 1982 met de Britse premier Margaret Thatcher
gesproken over een plan om de helft van de in Duitsland wonende Turken het land
uit te zetten. Volgens de christendemocraat was het voor Duitsland onmogelijk
zo veel Turken op te vangen. ALLEEN PROBLEEM MET TURKEN Dat blijkt volgens het
Duitse weekblad Der Spiegel uit Britse documenten die onlangs zijn vrijgegeven.
Kohl, die op 1 oktober 1982 bondskanselier was geworden in een kabinet van de
christendemocratische CDU/CSU en de liberale FDP, sprak over zijn plan met
Thatcher op 28 oktober 1982 in Bonn. Hij zei volgens de notulen van het gesprek
dat Duitsland geen problemen had met de Portugezen, de Italianen en zelfs de
mensen uit Zuidoost-Azië, maar dat de Turken uit een heel andere cultuur
kwamen. Hij wees er bijvoorbeeld op dat veel Turken zwart werkten en gedwongen
huwelijke sloten. TURKEN ZIJN DUITSE STAATSBURGERS GEWORDEN Op dit moment wonen
er 3 miljoen mensen van Turkse herkomst in Duitsland. Velen zijn Duits
staatsburger geworden op basis van veranderingen in de immigratieregels. Kohl
heeft in de jaren dat hij bondskanselier was, vaak gezegd dat Duitsland geen
immigratieland was. OPVALLENDE REACTIES Het woord deporteren brengt veel
negatieve gevoelens met zich mee. Cultuurverschillen zijn er uiteraard, maar
dat er specifiek gesproken is over het uitzetten van een bepaalde etnische
groep raakt een gevoelige snaar. Opvallend zijn de reacties op verschillende
nieuwssites. Zo kunnen we zien dat grofweg het merendeel van de reacties erg
positief is over dit idee. Men vraagt zich af waarom Rutte dit idee niet
overneemt.<o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif";"><o:p> </o:p></span></div>
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<a href="http://turksenederlander.nl/duitsland-wilde-turken-uitzetten.html#sthash.G0Xnulxh.RDeyAWVu.dpuf"><span style="font-family: "Garamond","serif";"><span style="color: blue;">http://turksenederlander.nl/duitsland-wilde-turken-uitzetten.html#sthash.G0Xnulxh.RDeyAWVu.dpuf</span></span></a><span style="font-family: "Garamond","serif";"><o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif";">http://turksenederlander.nl/duitsland-wilde-turken-uitzetten.html#<o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif";"><o:p> </o:p></span></div>
<br />
<div class="Pa6" style="margin: 0cm 0cm 0pt;">
<span style="font-family: "Garamond","serif";">Dat het Verenigd Koninkrijk
de afgelopen jaren een groot aandeel van de Somalische asielinstroom te
verwerken kreeg, is wellicht mede een gevolg van het feit dat dit land van 1897
tot 1960 koloniale banden onderhield met wat tegenwoordig Somaliland<span class="A11"><span style="font-family: "Garamond","serif"; mso-ansi-font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-theme-font: minor-bidi;">57 </span></span>heet. Tussen het Verenigd
Koninkrijk en Somalië zijn daardoor sociale, culturele en politieke netwerken
ontstaan (Day & White, 2001; Sporton et al., 2005). Reeds in de jaren
dertig van de vorige eeuw wisten Somalische zeelieden hun weg naar het Verenigd
Koninkrijk te vinden om daar te werken in de havens van Londen, Cardiff en
Liverpool. Toen de vraag naar havenarbeiders in de jaren zestig afnam, zijn zij
doorgetrokken naar noordelijk gelegen steden als Sheffield, Manchester en
Birmingham, om in de metaalindustrie te gaan werken (Sporton et al., 2005; Aden
et al., 2007). Met de komst van hun gezinsleden ontstonden in deze steden
grote, en soms ook politiek actieve Somalische gemeenschappen. Zo is in 1981 in
Londen de </span><i><span style="font-family: "Garamond","serif"; mso-bidi-font-family: Utopia;">Somali National Movement </span></i><span style="font-family: "Garamond","serif"; mso-bidi-font-family: Utopia;">opgericht, die oppositie voerde tegen het bewind
van dictator Siad Barre (Day & White, 2001). Somaliërs beheersen over het
algemeen het Engels als tweede taal, en al in de jaren zestig en zeventig van
de vorige eeuw gingen velen naar het Verenigd Koninkrijk om daar te studeren
(Day & White, 2001; Sporton et al., 2005). Sommigen keerden daarna terug
naar Somalië, anderen bleven in het Verenigd Koninkrijk wonen. In de afgelopen
jaren bleek bovendien een groot aantal Somaliërs met een asielstatus vanuit
Nederland en Zweden naar het Verenigd Koninkrijk door te migreren (Kleist,
2004; Griffiths et al., 2005). In de Britse volkstelling (<i>Census</i>) worden
Somaliërs echter niet als aparte bevolkingsgroep geregistreerd. Naar schatting
woonden in 2005 zo’n 75.000 Somaliërs in het Verenigd Koninkrijk (Sporton et
al., 2005, ter vergelijk: op 1 januari 2005 woonden in Nederland 21.733
Somaliërs, bron: CBS).<o:p></o:p></span></div>
<br />
<div class="Pa6" style="margin: 0cm 0cm 0pt;">
<span style="font-family: "Garamond","serif"; mso-bidi-font-family: Utopia;">Desalniettemin is na 2002, waarschijnlijk als gevolg van een
restrictiever asielbeleid, het Britse aandeel in de Somalische asielinstroom
afgenomen.<span class="A11"><span style="font-family: "Garamond","serif"; mso-ansi-font-size: 12.0pt; mso-bidi-font-size: 12.0pt;">58 </span></span>Na 2005 is zelfs sprake
van een forse daling van het Britse aandeel. De daling van het Britse aandeel
lijkt vooral te hebben geleid tot een stijging van het Zweedse aandeel. Ook het
Nederlandse aandeel in de Somalische asielinstroom is vanaf 2004 tot en met 2009
echter toegenomen. Een mogelijke verklaring hiervoor is dat in Nederland vanaf
medio 2004 tot medio 2009 voor Somalische asielzoekers specifieke
beleidsmaatregelen van kracht waren. In juni 2004 werd eerst een
vertrekmoratorium voor Somalische asielzoekers ingesteld (TK 2003-2004, 19 637,
nr. 822; Stc. 16 juni 2004, nr. 112, p. 15 en Stc. 16 juni 2006, nr. 112, p.
13). De instel<o:p></o:p></span></div>
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<span style="color: black; font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: SupersonicBSK-Book;">57 </span><span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;">Bron: PDF], De Nederlandse
migratiekaart: achtergronden en ... - Cbswww.cbs.nl/NR/rdonlyres/.../0/2012denederlandsemigratiekaartpub.pdf.
3 jan. 2012 - 6.7.3 Asielzoekers uit Somalië in Nederland en Noordwest-Europa
231 ...... zijn zij doorgetrokken naar noordelijk gelegen steden als
Sheffield,.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;">Brinta in Leicester<o:p></o:p></span></b></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;">Door Peter de Waard − 18/12/03,
00:00 <o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;">Het was een even massale als
stille exodus. Tienduizend Somalische vluchtelingen zijn de afgelopen jaren
verhuisd van Nederland naar Engeland.... .Naast Somalische koffie, dadels,
bankjes met gouddraad en bedden met houtsnijwerk staat er oer-Nederlandse
koopwaar: pakken Brinta en Nutrix, voorverpakte kipkroketten, Calvé-pindakaas
en flessen mayonaise. Abdi Aa kent zijn klanten. 'Het is lucratieve handel. In
Nederland zijn ze gehecht geraakt aan die producten. Wij kopen daar nu
rechtstreeks in.'.Abdi Aa is eigenaar van Hashi aan St. Stephens Road in de
Britse stad Leicester, een heuse winkel van Sinkel. Zijn 24-jarige schoonzus
Hadan staat achter de toonbank – in kleurige kleding en met een hoofddoek. 'In
Nederland kijken ze je raar aan als je een hoofddoek draagt. Hier vinden ze het
gewoon', zegt ze in vlekkeloos Nederlands..Hadan woonde acht jaar in Dordrecht.
'Ik werkte er in een supermarkt. Daar moest ik een uniform aan en ik mocht geen
hoofddoek dragen. Zelfs niet tijdens de ramadan.'. Twee jaar geleden verhuisde
ze naar Engeland. 'Wat ik van Nederland mis? De mooie huizen. Het is hier veel
armoediger. In Dordrecht hadden we een mengkraan in de keuken. Hier heb je
aparte kranen voor warm en koud water.'. De wijken Highfield & St. Peters
en St. Matthews in Leicester vormen een van de bizarste enclaves in Engeland.
Hier huizen tienduizend Somaliërs die de Nederlandse taal beheersen en
Nederlandse levensmiddelen kopen. Tijdens de Somalische burgeroorlog, vanaf
eind jaren tachtig, kwamen ze als asielzoeker naar Nederland. Ze leerden er de
taal, verwierven de Nederlandse nationaliteit en na een jaar of acht vertrokken
ze en masse met hun EU-paspoort naar het 'multiculturele paradijs'.. In
Engeland kunnen ze makkelijker werk vinden of een eigen bedrijf beginnen. Ze
mogen leren wat ze willen en kunnen hun culturele identiteit behouden. Het is
er minder betuttelend en beklemmend, zeggen ze.. De wijken in Leicester vormen
een klein-Mogadishu. De Somaliërs zijn er onder elkaar, terwijl ze in Nederland
– ondanks concentraties in Rotterdam, Dordrecht, Tilburg en Breda – verspreid
wonen. Kinderen kunnen elke dag na schooltijd koranles krijgen, in plaats van
eens per week. Er zijn speciale meisjesscholen en meer dan honderd moskeeën,
waaronder enkele grote..<o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;"><o:p> </o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;">'Bijna 70 procent van de
Somaliërs is afkomstig uit Nederland', zegt Mubarak Ismael van het Refugee
Integration & Development Agency, een instelling die de groeiende stroom
migranten bijstaat in het zoeken naar werk en huisvesting.. Leicester heeft
vanouds een grote aantrekkingskracht op vluchtelingen. De stad heeft veel
immigranten geabsorbeerd, zonder dat dit tot serieuze raciale problemen leidde.
'Er wordt al gauw een ideaalbeeld geschetst: dat we hier een Somalische
gemeenschap hebben en je gemakkelijk werk en huisvesting krijgt.. 'Veel
Somaliërs voelen zich in Nederland geïsoleerd, omdat het daar niet goed
mogelijk is volgens de eigen tradities en religieuze opvattingen te leven',
zegt Ismael. Daar komt bij dat Somalië een voormalige Britse kolonie is,
waardoor vluchtelingen denken extra rechten te hebben.. Volgens Esther van den
Reek, die voor de Universiteit van Tilburg onderzoek deed naar deze
migrantenstroom, speelt nog een andere reden mee. 'Veel Somaliërs hebben in
Nederland grote schulden opgebouwd, bij postorderbedrijven en financiële
instellingen. Door te vertrekken kunnen ze schoon schip maken.'. In de jaren
negentig gold Londen als het eldorado. Maar daar zijn de huizen te duur
geworden. Sinds begin 2001 zijn Birmingham, Sheffield en vooral Leicester in
opkomst. Verpauperde flats en rijtjeswoningen die enkele jaren geleden waren
dichtgetimmerd nadat de Britse arbeidersklasse ze had verlaten, worden nu weer
bewoond. Drie jaar geleden kostte zo'n appartement slechts 50 pond per maand.
Nu is dat 200 of 300 pond.. De vraag overstijgt het aanbod. Volgens Mubarak
Ismael wordt het steeds moeilijker betaalbare huisvesting te vinden. 'De mensen
stromen nog steeds toe. De huisjesmelkers – veelal Aziaten, maar ook enkele
Afrikanen – verdienen er goed geld mee.'. Jama Said Jama (55) werd in Somalië
opgeleid tot accountant. In 1991 kwam hij naar Nederland. Hij verbleef zes
maanden in een opvangcentrum in Oisterwijk en belandde daarna in het
asielzoekerscentrum in Vught. 'Je mocht tijdens de procedure niet werken en
kreeg geen Nederlandse les. Je bewegingsvrijheid was beperkt. Toen ik na
vierenhalf jaar de vluchtelingenstatus kreeg, beheerste ik de Nederlandse taal
onvoldoende om een baan te kunnen krijgen. In Leicester kon ik wel aan de slag
als boekhouder.'. Jama voelt zich meer ontspannen dan in Nederland. 'Als je
hier al die mensen ziet, dan ben je niet in Groot-Brittannië. Dan waan je je in
Afrika.' De opkomst van Pim Fortuyn heeft volgens hem de massale exodus van
Somaliërs niet veroorzaakt, maar wel versterkt. 'Het proces was al eerder begonnen.
Maar na Fortuyn voelden veel mensen zich niet langer veilig in Nederland.'. Veel
moslims hadden moeite met de liberale Nederlandse opvattingen over drugs en
seks. Opvoedkundige motieven zijn belangrijke redenen om te vertrekken.
'Moeders vrezen dat Nederlandse vriendjes hun zonen tot drugsgebruik aanzetten.
Of dat hun dochters worden verleid tot seks vóór het huwelijk.'. 'Hier zijn de
Somaliërs onder elkaar, met hun eigen normen en waarden. Als moeders niet
willen dan hun dochters meegaan op schooluitjes, dan hoeft het niet. In
Nederland was dat verplicht. Hier dringt de overheid je niets op.'. Mubarak
Ismael zegt dat de Somaliërs anders worden bejegend dan in Nederland. 'Er is
geen paternalisme. Niemand stapt op je af en zegt wat je moet doen. Iedereen wordt
in zijn waarde gelaten.'. Het European Monitoring Centre for Racism in Wenen
stelt dat Nederland een minder goede naam onder vluchtelingen heeft gekregen.
Het beste bewijs hiervan is de daling van het aantal asielzoekers in Nederland
met 40 procent. 'Nederland streeft naar assimilatie: vluchtelingen moeten zich
aanpassen aan de nationale gebruiken. Ze moeten proberen Nederlander te worden.
Groot-Brittannië kiest voor integratie: het respecteren van elkanders cultuur',
zegt directeur Bob Purkiss van het instituut..<o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;">Omalgen Said (21) winkelt even
verderop op St. Stephens Road. Ze is gesluierd, maar reageert onmiddellijk als
ze Nederlands hoort praten. 'Waar komen jullie vandaan? Ik heb in Amersfoort
gewoond. Ik wilde verpleegster worden, maar dat kon niet. Hier lukt dat wel. De
Nederlanders doen vaak zo racistisch. Ze reageren heel dom als je een hoofddoek
draagt. En weet je wat ik absoluut niet mis: al die giro's voor water, voor gas
en ga zo maar door', giechelt ze.. Mohamed Allow (60) bemoeit zich met het
gesprek. 'Kom mee naar de Nederlandse koffie-ochtend. Ja, we hebben hier een
Nederlandse club.'. De Somaliërs hebben een bonte verzameling winkels opgezet:
van videoshops tot witgoedzaken en van computerwinkels tot bakkerijen. Maar de
meeste winkels verkopen gewoon alles..Global Communication, het bedrijf van
Adam Ali, zit pal tegenover Hashi. Het is een nering met zes bedompte
telefooncellen, waarboven Ali klokken heeft opgehangen met de plaatselijke tijd
in Bangladesh, Zimbabwe, Uganda en andere verre oorden. En ook Ali heeft een
vrieskist met Nederlandse producten. 'Het is zoveel makkelijker om hier zaken
te doen. Je hebt niet overal een vergunning voor nodig. En je mag verkopen wat
je wilt.'. Opvallend is dat de uit Nederland komende Somaliërs erg open zijn,
veel opener dan de andere moslims in de stad. Ze lijken toch een liberale tik
te hebben meegekregen van hun verblijf in Nederland. Ook gesluierde vrouwen en
jonge meisjes zijn niet bang voor hun mening uit te komen. Sommigen zeggen dat
ze de Nederlandse vrijheid missen. Maar dat is slechts een minderheid.. Volgens
Mubarak Ismael hebben de Somaliërs geen spijt van hun verhuizing. 'Als ze al
terug willen, dan is het naar Somalië, ondanks de anarchie die daar nog heerst.
Ni¿et naar Nederland.'. </span><a href="http://www.volkskrant.nl/vk/nl/2664/Nieuws/archief/article/detail/742607/2003/12/18/Brinta-in-Leicester.dhtml"><span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;"><span style="color: blue;">http://www.volkskrant.nl/vk/nl/2664/Nieuws/archief/article/detail/742607/2003/12/18/Brinta-in-Leicester.dhtml</span></span></a><span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;"><o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;"><o:p> </o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;">Bent u geboren in Mogadishu?<o:p></o:p></span></div>
<br />
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;">Dan moet ik u aanhouden.<o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;">--------------------------------------------------------------------------------<o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;">Rutte: onderzoek naar groep
moet kunnen.<o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;"><o:p> </o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;">--------------------------------------------------------------------------------<o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;"><o:p> </o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;">"Bent u geboren in
Mogadishu? Dan moet ik u aanhouden."<o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;">Uit de Leeuwarder Courant van
zaterdag 19/5/2007 plus:<o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;">"Rutte: onderzoek naar
groep moet kunnen."<o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;">Uit de Leeuwarder Courant van
maandag 21/5/2007.<o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;"><o:p> </o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;">--------------------------------------------------------------------------------<o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;"><o:p> </o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;">Ondergetekende heeft ooit
gesteld dat Mark Rutte een wolf in schaapskleren is. Hij was staatssecretaris
van sociale zaken en in die periode heeft hij volgens de rechtbank in Haarlem
gemeenten aangezet tot rassendiscriminatie. Uit de Leeuwarder Courant van
zaterdag 19/5/2007:<o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;">Bent u geboren in Mogadishu?
Dan moet ik u aanhouden<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;">VVD-leider Mark Rutte heeft
volgens de Haarlemse rechtbank in 2003 gemeenten aangezet tot
rassendiscriminatie. Rutte was toen nog staatssecretaris van sociale zaken. Hij
adviseerde in een brief aan gemeenten alle circa 25.000 inwoners van Somalische
afkomst te traceren en op eventuele bijstandsfraude te controleren.
"Ambtenaren liepen met lijsten vol namen door de straten."<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;">DEN HAAG (GPD) - Eind 2004 werd
een veertigjarige Somalische man uit Haarlem op straat staande gehouden door
twee sociale rechercheurs. Ze eisten zijn identiteitsbewijs te zien omdat de
man het uiterlijk had Van een Somaliër. De man bleek tevens op een namenlijst
voor te komen die de rechercheurs bij zich hadden.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;">[Identiteitsbewijzen werden dus
gevraagd op basis van uiterlijk of ras. Wat dus al niet mag, maar gewoon
gebeurt.]<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;">Pas twee jaar later werd
duidelijk dat er alleen burgers van Somalische afkomst op die lijst stonden.
Burgers die tevens een bijstandsuitkering ontvingen. In totaal 84 mensen.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;">"Ambtenaren bleken met
lijsten vol namen van mensen van één bepaald ras de straten af te struinen. Dat
klinkt sinds de Tweede Wereldoorlog op zijn minst niet neutraal meer",
stelt Pim Fisscher, een van de advocaten die de man de afgelopen jaren heeft
bijgestaan.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;">[Ze moeten maar gauw een 'S'
zetten in alle identiteitsbewijzen van alle Somaliërs en een 'L' van Landwacht
ofwel Jan Hagel ofwel De Zwarte Wagon in de ID's van deze ambtenaren.]<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;">De gemeente Haarlem stelde dat
zij slechts het advies van voormalige staatssecretaris Mark Rutte (Sociale
Zaken) heeft gevolgd. Die heeft in 2003 gemeenten geadviseerd alle burger&
van Somalische komaf Je traceren. Indien zij een uitkering ontvingen, dan
diende er een fraudeonderzoek plaats te vinden. Dit om eventuele
bijstandsfraude door Somaliërs te voorkomen.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;">[In het moderne soos-jargon
heet dit "een risicoprofiel"; op ras welteverstaan. Hierover is
onlangs een uitspraak gedaan door de Centrale Raad van Beroep te Utrecht. Zie
hierover ons artikel met diverse berichten waaronder die uitspraak.]<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;">De rechtbank in Haarlem
oordeelt op basis van dat advies dat er sprake is van rassendiscriminatie.
"Een onderzoek dat uitsluitend gericht is op personen van Somalische
afkomst is discriminatoir. De grondwet verbiedt discriminatie op welke grond
dan ook."<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;">[Helaas is dat "op welke
grond dan ook" in de Grondwet - wat we nog te danken hebben aan Marcus
Bakker van de toenmalige CPN - tot nu toe geen grond geweest om ongelijke
behandeling van alleenstaanden mee te bestrijden. Laatst weer een
brandweercommandant in Friesland die geen alleenstaanden wilde aannemen, maar
uitsluitend gehuwden. Wat me op zich in strijd lijkt met de Wet Gelijke
Behandeling omdat het discriminatie is op grond van burgerlijke staat.]<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;">Rutte schreef de brief omdat
hij aanwijzingen bad gekregen dat enkele tientallen Somaliërs die naar Engeland
waren verhuisd, zich niet hadden uitgeschreven bij hun Nederlandse gemeente. En
dus een uitkering bleven ontvangen. Hij erkende dat het slechts om een kleine
groep fraudeurs ging. "Ik wil benadrukken dat het fraudepatroon een
minderheid binnen de Somalische gemeenschap betreft." Toch riep hij in
diezelfde brief op alle bijstandsgerechtigden van Somalische komaf onder de
loep te nemen.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;">[Hij wist dus zelf wel dat het
vermoedelijk toen ging om enkele tientallen Somaliërs. Klopte dat verhaal, dan
zouden zij bijstandsfraude plegen, waar de overige Somaliërs part noch deel aan
hadden. Kortom: er werd weer gewerkt met "groepsschuld": als één
persoon van een bepaalde groep fraudeert, dan zijn allen verdacht en moeten we
die allemaal controleren. Om maar te zwijgen over de politiestaat-achtige
methoden die zijn gebruikt. Voor de zoveelste keer: bijstandsfraude pleeg je
niet als groep, maar als individu. Wat er in feite gebeurt is het verklaren van
alle Somaliërs tot een soort "criminele organisatie": je hoort erbij
dus je bent erbij...<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;">Dit nu is exact hoe
soos-risicoprofielen werken en daarom torpedeerde de Centrale Raad van Beroep
bij de huisbezoeken-kwestie de risicoprofielen. In dit geval was feitelijk
sprake van een risicoprofiel gebaseerd op ras en daarover is de Grondwet
duidelijk: dat is niet toegestaan. Overigens vind ik dat de gemeente Haarlem
ook veroordeeld zou moeten worden wegens rassendiscriminatie: Rutte zette
hiertoe aan, maar zij voerden het uit. Ze hadden ook hun Bevolkingsregister
eens kunnen controleren en opschonen, dan had gewoon gebleken dat er wellicht
enkele Somaliërs niet meer in Haarlem woonden...]<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;">Daarbij erkende hij dat deze
groep niet zo makkelijk te traceren is omdat 'etnische oorsprong niet wordt
geregistreerd in de bijstandsregistratie'. "U kunt daar op de volgende
manieren toch inzicht in krijgen", adviseert Rutte vervolgens. Hij raadt
aan alle archieven op geboorteplaats te doorzoeken. "Een grote meerderheid
van de betreffende groep Nederlanders is geboren in één van de grote Somalische
steden; Mogadishu, Galcaio of Hargeysa."<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;">[Dus maar snel mee beginnen bij
de soos met een registratie van de bijstandsklanten op ras...<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;">Ik heb nog wel wat oude
"politieherkenningsformulieren" die kunnen helpen, met daarop de
mogelijkheid om kenmerken te vermelden als: "Jood", "homo",
"zigeuner" enz.! Wat indertijd leidde tot een verschrikkelijke rel in
de Leeuwarder gemeenteraad.]<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;">De methode gaat alleen niet op
voor Somaliërs die in Kenia of Ethiopië zijn geboren. Die gevallen zouden
opgespoord kunnen worden via consulenten. Rutte stelt in zijn brief:<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;">"Op het moment dat uw
gemeente de Somalische huishoudens met een bijstandsuitkering in beeld heeft,
adviseer ik u om nader onderzoek in te stellen, waarbij de focus zou moeten
liggen op de identiteit en de woon- en leefsituatie."<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;">[Dus gericht op een hele groep
in plaats van op individueel verdachte personen.]<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;">De woordvoerder van Mark Rutte
laat weten dat de VVD-leider eerst wil weten wat de precieze motivering van de
rechtbank is geweest, voordat hij gaat reageren. Volgens het ministerie van
sociale zaken heeft de uitspraak in ieder geval geen gevolgen voor het huidige
rijksbeleid.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;">"Sinds 2004 zijn gemeenten
en niet langer het rijk verantwoordelijk voor de fraudebestrijding. Daarbij had
die oproep destijds een actuele aanleiding. Er waren signalen dat er veelvuldig
werd gefraudeerd met bijstandsuitkeringen door Somaliërs."<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;">[Dus daar komt het Rijk weer
makkelijk mee weg.]<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;">De gemeente Haarlem zegt de
zaak te betreuren en laat weten al gestopt te zijn met de specifieke
onderzoeken naar Somalische burgers.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;">[De gemeente Haarlem had nooit
op die manier te werk mogen gaan en het is jammer dat zij ook niet voor de
rechter zijn gesleept. Als zij een individueel gericht onderzoek hadden
ingesteld, bijvoorbeeld via een check op het Bevolkingsregister en de brief van
Rutte verder hadden genegeerd, was er weinig aan de hand geweest.]<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;">--------------------------------------------------------------------------------<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;">Einde eerste LC-bericht.
Commentaar tussen blokhaken. [].<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;">Op maandag 21/5/2007 kwam de
Leeuwarder Courant al snel met een tweede bericht:<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;">Rutte: onderzoek naar groep
moet kunnen<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;">DEN HAAG(GPD) Gemeenten moeten
gericht onderzoek kunnen doen naar fraude binnen een bepaalde bevolkingsgroep.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;">Dat zegt VVD-Ieider Mark Rutte
in een reactie op een uitspraak van de rechtbank in Haarlem. Die oordeelde
onlangs dat Rutte zich als staatssecretaris van sociale zaken schuldig heeft
gemaakt aan rassendiscriminatie door gemeenten te vragen inwoners van
Somalische afkomst extra te controleren op bijstandsfraude.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;">[Of hij is achterlijk en stom,
wat ik niet geloof, of hij is kwaadaardig. Ik stel voor om alle VVD-stemmers
tot 'risicoprofiel' te verklaren voor de inkomstenbelasting, de
vennootschapsbelasting enz.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;">Rutte vindt dus dat het plegen
van bijstandsfraude een rassenkenmerk is, waarbij sommige rassen meer geneigd
zijn tot bijstandsfraude dan andere. Dit begint te stinken en de kleur is
bruin.]<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;">Rutte noemt de uitspraak van de
Haarlemse rechtbank "vreemd". "Kennelijk is het nu niet mogelijk
bepaalde bevolkingsgroepen gericht te onderzoeken. Als dat zo is moet de wet
worden aangepast."<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;">[Als het die kant uit gaat zijn
we helemaal in de aap gelogeerd. De mogelijkheden die dan nog resten zal ik
hier maar niet noemen.]<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;"><o:p> </o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;">De huidige staatssecretaris van
sociale zaken, Ahmed Aboutaleb, liet gisteren weten het voorstel van Rutte af
te wijzen.<o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;">Hij voelt er niets voor om bevolkingsgroepen
anders te behandelen op basis van etnische kenmerken.<o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;"><o:p> </o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;">[Dat is dan terecht:
bijstandsfraude plegen heeft niets met ras van doen. Idioot eigenlijk, dat we
zo ver gezonken zijn in Nederland in vrij korte tijd, dat dit gezegd moet
worden. Als die Aboutaleb nog even doordenkt, zou hij echter moeten inzien dat
de uitspraak van de Centrale Raad van Beroep inzake de 'risicoprofielen' óók
terecht is en dat ook daarover een wetswijziging zoals hij wil, precies even
fout is, omdat het over exact hetzelfde gaat, alleen gaat het niet over ras,
maar over leefvorm, huishoudensvorm, huisvestingsvorm (b.v. kamerbewoner of
dakloze zijn), burgerlijke staat ed.]<o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;"><o:p> </o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;">Rutte adviseerde in een brief
aan gemeenten alle circa 25.000 inwoners van Somalische afkomst te traceren en
op eventuele fraude te controleren. Aanleiding was de verdenking dat enkele
tientallen Somaliërs bijstandsfraude hadden gepleegd. Volgens de rechtbank in
Haarlem is dat discriminatoir en in strijd met de grondwet.<o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;"><o:p> </o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;">Onzin, vindt Rutte. "lk
zou de brief zo weer sturen. Dit heeft niets met rassendiscriminatie te maken,
maar alles met fraudebestrijding."<o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;"><o:p> </o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;">[Natuurlijk had zijn brief te
maken met fraudebestrijding, maar dat wil nog niet zeggen dat sommige methoden
daarbij niet discriminatoir kunnen zijn en in strijd met de grondwet. Dat is
het punt waar het om draait.] <o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;">De rechtbank in Haarlem deed
uitspraak in een zaak die was aangespannen door een Somalische man die werd
gecontroleerd op fraude nadat hij op straat op grond van uiterlijke kenmerken
door sociale rechercheurs staande was gehouden.<o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;"><o:p> </o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;">[Dat soort razzia-praktijken
zou door iedereen bestreden moeten worden, om te beginnen door te weigeren om
met een identiteitsbewijs om te lopen. Als we dat massaal zouden doen en over
zouden gaan tot burgerlijke ongehoorzaamheid, kan men moeilijk heel Nederland
de bak ingooien... Natuurlijk zal geantwoord worden met nog meer repressie,
waarop vervolgens nog meer mensen over zullen gaan tot lijdelijk verzet.]<o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;"><o:p> </o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;"><o:p> </o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;">--------------------------------------------------------------------------------<o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;">Einde tweede LC-bericht.
Commentaar tussen blokhaken. [].<o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;"><o:p> </o:p></span></div>
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<a href="http://home.wanadoo.nl/dbpel/geld/401soos-ras.html"><span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;"><span style="color: blue;">http://home.wanadoo.nl/dbpel/geld/401soos-ras.html</span></span></a><span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;"><o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;"><o:p> </o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;"><o:p> </o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;">Ayaan Hirsi Ali niet illegaal
maar toch naar Amerika // Overheid en Politiek<o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;"><o:p> </o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;"><span style="mso-spacerun: yes;"> </span>Door Magali van Wieren op 16 mei 2006 om
22:29, in de categorie Overheid en Politiek. <o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;"><o:p> </o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;"><o:p> </o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;">Waar een tv-uitzending wel niet
voor kan zorgen. Zembla is flink gaan zoeken en heeft ontdekt dat Ayaan Hirsi
Ali heeft gelogen over haar persoonsgegevens bij de aanvraag van een Nederlands
paspoort. Minister Verdonk besloot daarop om vrijdagochtend een onderzoek in te
stellen. Inmiddels is Hirsi het gesprek van de dag..<o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;">Helemaal na haar
persconferentie vandaag. Wat er precies gebeurde en wat er verteld werd kun je
hier lezen.<o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;">Mocht Hirsi ineens haar
Nederlandse paspoort<o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;"><span style="mso-spacerun: yes;"> </span>verliezen dan hoeft ze Nederland niet uit. Ze<o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;"><span style="mso-spacerun: yes;"> </span>valt dan terug op haar vluchtelingenstatus.
Onwaarheden die zij destijds<o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;"><span style="mso-spacerun: yes;"> </span>heeft verteld, zijn na twaalf jaar verjaard.
Met een<o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;"><span style="mso-spacerun: yes;"> </span>vluchtelingenpaspoort mogen mensen ook reizen.
Hirsi Ali wordt dus niet<o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;"><span style="mso-spacerun: yes;"> </span>illegaal.<o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;">Dit is de afkomst van Hirsi:<o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;">,,Ik ben Ayaan,<o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;"><span style="mso-spacerun: yes;"> </span>de dochter van Hirsi, die een zoon is van
Magan. Magan was de zoon van Isse,<o:p></o:p></span></div>
<br />
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;"><span style="mso-spacerun: yes;"> </span>die de zoon was van Guleid, die de zoon van
Ali was”, zei Ayaan die het<o:p></o:p></span></div>
<br />
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;"><span style="mso-spacerun: yes;"> </span>lijstje verder afmaakte. „Kortom, mijn naam is
Ayaan Hirsi Magan Isse Guleid<o:p></o:p></span></div>
<br />
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;"><span style="mso-spacerun: yes;"> </span>Ali Wai’ays Muhammad Ali Umar Osman
Mahamud."<o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;">Okeeee…..Ze heeft het nog best
ver geschopt. Dat ze nu pas achter al dit gedoe komen..<o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Utopia;">http://jongeren.blog.nl/overheid/2006/05/16/ayaan_hirsi_ali_niet_illegaal_maar_toch_naar_amerika<o:p></o:p></span></div>
Egmond Codfriedhttp://www.blogger.com/profile/10597005835134961469noreply@blogger.com0tag:blogger.com,1999:blog-1401624891557825179.post-70352240269969880522013-09-10T02:48:00.002-07:002013-09-10T04:44:40.639-07:00<h2 style="text-align: center;">
THE HOUSENIGGER REVISITED; SUCCESFULL BROWN, BLACK AND MUSLIM PERSONS IN THE NETHERLANDS ARE SUCCESFULL BECAUSE OF CLIENTISM</h2>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQZIFiiIZczMCxRwz-mPWvnCk1VhC9ZSSNg1_Qh0u9iZnLCuyWcqet697R5cneAYNbHxBFteqgLUHfOsqL3OzOKuMeya5LAT5qVsM73a1vPYyc9Duwbcwqi8K3RxsXKAz74ZyZoYCHTxNf/s1600/Charles-Stuart-II-the-black-boy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQZIFiiIZczMCxRwz-mPWvnCk1VhC9ZSSNg1_Qh0u9iZnLCuyWcqet697R5cneAYNbHxBFteqgLUHfOsqL3OzOKuMeya5LAT5qVsM73a1vPYyc9Duwbcwqi8K3RxsXKAz74ZyZoYCHTxNf/s320/Charles-Stuart-II-the-black-boy.jpg" width="230" /></a></div>
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Koning Charles II Stuart, The Black Boy, was a black man.</div>
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The oldest images of Jesus show him as black, reflecting Black supremacy in the Greek and Roman world</div>
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the philosophers of the enlightenment were members of the bourgeoisie and were brown and black in looks.</div>
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God was black till 1848 in Europe</div>
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Karl marx was called Mohr, because he was so black of skin.</div>
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The most famous French Black Madonna de Mont-Brun St.Puy, symbolises that the black elite saw god as black, and she is still revered. There are many Black Madonna's in Europe largest churches. It's not the soot of candles settling alone on hands and face, but they were made to be black. Many are replicas, and do not show the classical African facial traits any more.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhsCiuyFJ4-wQqMe19vohS9Ip7eYjqOflZuLIQakD3e2tCh5uvmiWpIe0i2TyxYplPhrmvffvIsh0xpmZrhRcCjanUALEKifCjqNMSyf-VC4xB_Rhr0FAy4bWeJo26TgyScGmjZPA8mFmY/s1600/mau.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhsCiuyFJ4-wQqMe19vohS9Ip7eYjqOflZuLIQakD3e2tCh5uvmiWpIe0i2TyxYplPhrmvffvIsh0xpmZrhRcCjanUALEKifCjqNMSyf-VC4xB_Rhr0FAy4bWeJo26TgyScGmjZPA8mFmY/s320/mau.jpg" width="253" /></a></div>
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Maurits Huygens is not shown at the Huygens museum because he looks like a mulatto. a portrait by Rembrandt, but whitened afetr 1848.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6Fn0f8X2Wa5KhxJcRZTwKvMAYnSWbe3NT8h4LcZkAwXcOOt80b35R1AWMOGZhB4pcAAc9UaZjD4xf2Wm2a-GA2ET4ivJkUHdwb1-pyYBAig98EBP2ho_y4ce1G_S1Te60LFOeMqGKDK6X/s1600/mjcvg.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6Fn0f8X2Wa5KhxJcRZTwKvMAYnSWbe3NT8h4LcZkAwXcOOt80b35R1AWMOGZhB4pcAAc9UaZjD4xf2Wm2a-GA2ET4ivJkUHdwb1-pyYBAig98EBP2ho_y4ce1G_S1Te60LFOeMqGKDK6X/s1600/mjcvg.jpg" /></a></div>
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Maria Jacoba van Goor (1687-1737), a rich regent-class woman. Her mother was a niece of Rembrandt, and she was the grandmother of Baroness Isabelle de Charriere. (Belle van Zuylen). This portrait launched the blue blood research.</div>
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Rembrandt painted himself as ablack young man. The portrait is whitened with beige paint.</div>
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Petronella Borre was the wife of Francois van Aerssen, he was minister of state, and grandmother of governor Cornelis van Aerssen van Sommelsdijck. She has classical African facial traits and frizzled hair on a whitened portrait by Harmen Serin.</div>
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Johan van der Werff, neef van Maria Susanna Du Plessis (1739-1795). Hij heeft uitsluitend Europese voorouders, en heeft sterke klassieke Afrikaanse trekken. Maria Susanna was een Zwarte vrouw.</div>
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De Staalmeetsres (1662) door Rembrandt ogen nu als witte mannen maar....</div>
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...waren ooit clasiek Afrikaanse typen voor 1880. Photo by A.Braun found in Museum Bulletin of the Rijksmuseum in Amsterdam. The paint did not darken, the people were dark skinned.</div>
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<b><span lang="EN-US" style="color: #333333; font-family: "Garamond","serif"; font-size: 14pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">THE HOUSENIGGER REVISITED;
SUCCESFULL BROWN, BLACK AND MUSLIM PERSONS IN THE NETHERLANDS ARE SUCCESFULL
BECAUSE OF CLIENTISM <br />
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To understand the position of so-called foreigners in Holland I read pre-colonial
Africa by Diop (1970) and Ancient City by Numa Fustal de Coulanges (1864). De
Coulanges did extensive research about ancient Greece, and Diop quotes De
Coulanges to make a comparison between Europe and Africa.<br />
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When the Dutch declared all the people of color in Holland to be 'allochtonen'
they were settling an old score and following the ancient Greeks. The white
Europeans are not native to Europe, they came from Central Asia. In Central
Asia we find the so-called Ice Mummies that look like blond, white Europeans
and not like the surrounding Asian nations. Whites are still trying to proof
they are genuinely Europeans and are still following a campaing started in
1848. The idea is that African albinos left Africa as a group, overland, past
India and became a foolproof white nation in geographical isolation by
intermarriage. They are not albinos anymore but whites with more or less
admixture. Because of admixture some whites can tan themselves. But some white
people cannot stand the sun for a minute; they stayed close to the albino
ancestor. It is not my intention to insult, but a way to explain whites, to
show that they resemble albinos in some ways, and that whites came out of
Blacks.<br />
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De Coulanges never says that the peoples the Greeks called Barbarians were the
whites, while the Greeks, the patricians, the nobles were brown and black
complexioned Europeans. They were the descendants of the first Europeans who
came from Africa, and they were not white. Like Africans they today, they had
all complexions but regarded the Blackest African, the classical African as
pure of blood. The whites were foreigner, barbarians, slaves, plebeians and
serfs. They could never become a Greek citizen because they were not from the
soil. They did not belong to the Greek gods; they had their own, different
gods. So there was no way for them to be a citizen of any Greece city-state.
Religion forbade this.<br />
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So no Greek could overrule the law of the gods, and risk his own life.
Barbarians however could become clients, make themselves voluntary slaves to a
Greek patron, support him, respect him as social superior, and through him they
could live in the city and have benefits. It was forbidden for them to have
different opinions than the patron. They could not offer any sacrifice to the
gods, but the patron could do this on their behalf.<br />
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So we brown and black and Muslims in Holland today are not real citizens. We
are allochtonen, not from the soil, and not equal to whites who are from the
soil. It's not a matter of merits, or how well we speak the language or how
well we are integrated. To belong we first need to please a white citizen, and
through him we get employment and riches. This is why many successful blacks
come across as housenegro's. The whites view them as less; they only tolerate
them as house slaves. Even all allochtonen acquire and have in Holland is not
theirs to keep. All they have belongs to the state, and if the allochtonen are
forced to submit their belongings, because they have to leave the country, it
all goes back to the patron or the state.<br />
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Short time ago I learned that the Greek nobility was brown and black, like the
Medieval nobility (1100-1848) who was brown and black. We do not know this
because all the portraits were repainted beige and pink. This can be understood
from Alison McQueen, The Rise of The Cult Of Rembrandt in 19th Century France,
2003. McQueen explains how the revolutionary government of France used
Rembrandt as a figurehead for a new art politics and a new aesthetics. She does
not seem to know that repainting all the old masters was part of this cult.
This is a great secret and taboo among European restorers. It can be understood
from arts books when they spare some words from old time restoration practices,
without going into details. Claiming not to know what the early restorers did
to stop the darkening paint. The old master portraits were declared to have
darkened, they showed dark figures, and needed to be 'restored' to what
Rembrandt and others supposedly intended: to show the ordinary people: The whites.
But whites were never accepted as equal to the brown and black Europeans, until
1848 when they took power, and made Europe white. Whites were not part of 'society
‘like they were not accepted as citizens in Greek city-states.<br />
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Black Athena, the fabrication of Ancient Greece by Martin Bernal caused a great
stir, because he declared that in 1848 the Ancient Model of Greece, which till
then held sway, and said that Greece owed its culture to Egypt, was replaced by
an Aryan model which declared Greek civilization as a result of an Aryan
invasion from the North. It was a civilization that was fully formed, without
influence from elsewhere, least of all from Africa. Bernal was right, but he
and the others did not know that the European elite was brown and black of
complexion, and their portraits have been altered. When whites came to power
they turned the Greek civilization white too. This is what my blue blood is
black blood theory 1100-1848 is about. And Bernal came close to discover this.
Interesting is that he was a big time scholar and professor, and I'm not. His
elaborate discursive proof and four books, and big time physical proof,
etymology and what not; could not convince his scientist adversaries. <br />
<br />
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So I stick to my simple proof: the personal descriptions which say certain
people we think of as whites were light brown, brown, very brown, and black of
complexion. And they were depicted as such until the whites said the paint had
darkened. But we still have dark skinned engravings made from the fresh
portraits. This should be sufficient proof that the European elite was not
white. Alexander de Great and his foster brother were swarthy or black. The
Macedonian royal family was black. Cleopatra was black because Macedonian does
not mean white. And no white family could possibly sit on an African throne.
She is also described as black. Jane Austen was a brunette of complexion, a
brown, not a pink color, and all her personages are elite, and brown or black
of complexion.</span></b><span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 14pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><o:p></o:p></span></div>
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Egmond Codfriedhttp://www.blogger.com/profile/10597005835134961469noreply@blogger.com0tag:blogger.com,1999:blog-1401624891557825179.post-9558748425046915292013-09-04T07:43:00.001-07:002013-09-05T07:10:42.709-07:00<h2 style="text-align: center;">
DEAR PRESIDENT BARACK OBAMA </h2>
<h2 style="text-align: center;">
AND MRS MICHELLE LEVAUGHN OBAMA</h2>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span><span lang="EN-GB" style="mso-ansi-language: EN-GB;">The Hague,
1 September 2013.<o:p></o:p></span></div>
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<strong><u><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span><span lang="EN-GB" style="mso-ansi-language: EN-GB;">White
supremacy is based on fake over paints of Old Master portraits;<o:p></o:p></span></u></strong></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><strong>DEAR
PRESIDENT BARACK OBAMA AND MRS MICHELLE LEVAUGHN OBAMA<o:p></o:p></strong></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">(And every
dear person who feels the need to end racism today)<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Kindly I inform you that all the portraits at The White House of the
earliest presidents of the US, like all Old Master portraits in all museums
over the world; are over paints. They made the brown and black faces and hands white.
It seems that 1880 was a deadline for tolerating blackness. By 1848, Europe saw
its Final Revolutions that accomplished what the French Revolution (1789-1794)
could not achieve. The Final Revolutions resulted in the factual of freedom and
human rights for all Europeans. In 1848 the French third estate, which were 97%
of the French, gained general male suffrage. In The Netherlands, they changed
the constitution, and we are told that King William II of Orange Nassau (1792-1849)
changed overnight from conservative to liberal. We are also told that the
nobility lost some of its privileges. What we are not told is that the third
estate were the former serfs and villains who did not have any rights AND THEY
WERE THE WHITES OF EUROPE. They were hardly seen as humans, and the historical
Declaration of Human Rights (1789) was to give them human status. Most likely
1848 saw the end of a European trade in human leather. A digitalized book, and
many articles on the web about the European trade in human leather, says that
the French King Louis XVI (1754-1793) was, significantly, presented with a pair
of slippers made of human skin, on the eve of the French Revolution. The
revolutionary government of France, according to Alison McQueen, ‘The Rise of
The Cult of Rembrandt in 19<sup>th</sup> century France,’ (2003), inherited
great state collections of Old Master portraits and genre pieces. And they
choose against all proof to the contrary, Rembrandt (1606-1669) as a
revolutionary figurehead claiming that he was a painter of the third estate.
But that the paint on his, and others, works had darkened and needed to be ‘restored’
to the state he supposedly intended. He was declared to be a painter of the common
people, which he was not. This tells us at least that the figures looked dark,
and they remedied this condition by over painting all old master paintings with
beige and pink. This restoration is still visible to the naked eye and one can
see the brown and black layers underneath. You go and check the portraits in
the White House , and next take yourself to a museum, demanding to see the
restorer-in-chief. Tell them that lying to the president and his wife is high
treason, or something. The face contours remained the same, so 10% of the
portraits of the Ancien Regime that are reported to the RKD in The Hague, show
classical African facial traits. They are the type we call Black today. In Jane
Austen’s (1775-1817) time these ‘peculiar’ traits stood for ‘distinguished,
proof of pure blood, and proof of noble blood in the family bloodline.’ Jane
Austen, who was described as ‘a brunette of complexion,’ also had this look, so
we do not get to see her authenticated portrait. But they show us a fake,
supplied by her family, to escape hatred and rejection of Jane Austen by the
new, revolutionary political elite. Many persons of the Ancient Regime, the
elite who were the first estate (the church) and the second estate (the
nobility and the bourgeoisie); are described as brown or black of complexion in
biographies, but are presented to us as whites. They are described as ‘brown
(Charlotte-Sophie of Mecklenburg-Strelitz), black (Leopold I Habsburg), not the
white hands (Isabelle de Charrière), The black boy and a tall black man and the
swarthy Stuart (Charles II Stuart), the black Prince (Edward of Woodstock),
black as chimney (Anna Margaretha van Aerssen), chimney sweeper (Baron Aarnout
Joost van der Duyn van Maasdam), swarthy (zwart, Schwartz)(The van der Duyn
family), bad complexion (Madame de Staël), very dark with black eyes and dark
hair (James Boswell, Queen Anna Boleyn), more brown then white (William I of
Orange), brown of complexion and beard (William I of Orange), saturnine (George
Sand, Oliver Cromwell), black as ink (Louis XIV’s mummy) and ugly (poet Jan
Vos). Next, there are engravings taken from freshly painted portraits, to be
able to make and sell cheap copies quickly, and to be used in books. These
engravings show the dark skin, and it would then seem that the paintings
darkened overnight, which is impossible. Yet, every person in arts will tell
you that the paint portraits had darkened and were in need of restoration. It’s
often remarked that there are no Black scientists, discoverers, writers etc.
Now I can state that they were over painted beige in 1848. According to Martin
Bernal (</span><span lang="EN" style="mso-ansi-language: EN;">1937<u><sup id="cite_ref-1"><span style="color: blue;">-</span></sup></u>2013)</span><span lang="EN-GB" style="mso-ansi-language: EN-GB;">, Black Athena I, II, The Fabrication
of Ancient Greece, (1987), it was only in the 1840-ies, that the ‘Ancient
Model,’ which claimed that Greece owed its culture to Egypt, was replaced by
the ‘Aryan Model,’ which said that Greece was invaded by whites from North
Europe, finding the white, Greek civilization. This wholly concurs with mine
Blue Blood Is Black Blood Theory (1100-1848)(2004) that European whites were
emancipated in 1848 and set out to whiten all of history. They painted the
black and brown faces of their former masters white. They also whitened the
Greek and Roman Civilizations. Apelles depicted Alexander the Great, from the
Macedonian Royal Family, as ‘swarthy’. What is missing from all the clever
books by clever people, some of them have access to you and advise you, is the
simple fact that the first Europeans came to Europe from Africa, around 45.000
years ago. It has not been possible to find a genetic link between the present
Europeans and the early ancestors, so the present ones, the whites, came from
elsewhere. They came from Central Asia around 6000 years ago, but mostly around
400 AD with the Great Peoples Movements, and around 1000 AD when Europe
suffered great barbarian invasions. Europe was in need of protectors, and so
the nobility elevated itself into a nobility, exploiting and oppressing the
people they claimed to protect. (Numa Fustal de Coulanges, Sheick Anta Diop) In
Central Asia there are Ice-mummies that look like blond, white Europeans, and
are not Asian in looks. The brown and black Europeans did not just become
white, which is not possible, but rather whites invaded Europe. The Greeks
claimed to be from the soil, and declared themselves a nobility over these
white barbarians, or plebeians. As immigrants, they could not become citizens
of Greece. The Modern Age nobility elevated itself in 1100-1200, and saw itself
as the inheritors of the Greek Civilization, recently rediscovered, giving rise
to the Renaissance. They were descendants of the Blue Men, the African
Europeans, and called themselves Blue Bloods. Like the Egyptians, and Greeks
they were not all Blacks, but brown and black complexioned, some with classical
African facial traits and those were considered pure of blood. The Egyptian,
the Greek and Modern Era nobility and bourgeoisie, based their superiority on
their looks. The rare, pure Black type was the standard, those were pure of
blood. The other brown and black Europeans who did not attend the founding
meetings of the nobility became the bourgeoisie and together with the nobility
they numbered 3% of all Europeans. The history of Europe could be understood as
a battle between these two brown tribes. In the end, the bourgeoisie called
itself Caucasians to side with the white Caucasians, to topple their common
enemy: the nobility. Human Race as a social construct, for a purpose: a mean to
an end. Yet, the bourgeoisie stole the French Revolution, and because of noble
restorations like that by Napoleon, the whites had to fight on till 1848. To
forestall backsliding they then had all portraits changed to white, and made
ancient Greece white, to hide the fact that whites were the barbarians, the
serfs and villains, the Greys, canaille, out casts and the common people and
did not contribute to the European civilization. This fraud was started in 1848
and whites are still trying to make Blacks the immigrants, and have made
themselves the aristocracy by the sleight of hand, changing of the portraits
and genre pieces. This is the weakest point in their armour of lies, as we can
still study the over painting. But because of these fake over paints, also
present in your White House, their white supremacy is since 1848 is based on
fake over paints of the brown and black European and American elites. Racism
against Blacks was invented around 1760 by the bourgeois philosophers who were
brown and black, and was intended as a liberation ideology, a new religion,
against the nobility that self-identified as Black with heraldic Moors. With
the many, little figures of Blacks, we find in Western art. They also
identified as Black and good Christians, and superior, with King Balthasar and
many Black Madonna’s in the greatest churches. These were mostly destroyed
around the French Revolution and we are shown their black replicas, often with
the facial traits changed. The US Founding Fathers, the Framers of the US
Constitution, and all slave masters in the Americas were exponents of the European
brown and black faced bourgeoisie, and they engaged in trade, which was
forbidden to nobles. (Nobles married heiresses from trade, as Othello and
Desdemona did. Othello was a heraldic Moor, a symbol of nobility, and the
highest-ranking person in Venice. As a skilled military leader, he chose a
military solution for his marital problems by killing Desdemona. So, Iago
tricked Othello the Moor of Venice, into killing his beloved Syria….oops his
beloved wife, Desdemona. He knew Othello would react with violence, because of
his violent profession. There is no racism against Blacks in Othello, just some
mild joking at the expense of the nobility, by Shakespeare who was a member of
the brown and black complexioned bourgeoisie, the gentry.) The early American
political elite were brown and black complexioned Europeans. Swedish John
Hanson had classical African facial traits, next to dark skin. White cannot be
equated with European. Blacks just not become white like that. And the concept
of Human Races has been rejected outside the US. George Washington had black
skin, and his French ancestor looks Black. Today, there cannot be an equal
debate about the state of affairs between Blacks and whites if we do not
address the on-going deception with the over painting of portraits in 1848. And
that this 165 years old fraud is still maintained by the friendly, smiling
white museum and art elite. As I’m blocked everyway to peacefully present my
case, and my solution for a peaceful end of racism against Blacks, I appeal to
you both. We just need to point to the fake portraits, and we even need not
raise our voices. Just you both say the word and it will make you a hero
forever. As I believe there are many whites that do not hate Blacks, who are
married to Blacks, were raised by Blacks, worship alongside Blacks, or have
Black children. So, they will also welcome an end of Racism against Blacks. The
Black bogeyman nobles are dead and gone, and they are not coming back to flay
whites alive to bind books or make shoes with their skins. Black history is not
Black slavery alone, and insisting on stigmatising Blacks as slaves and victims
is the mental enslavement and intimidation of Blacks. Often perpetrated by
their own Black intellectual elite, and some have access to you too. Kindly
help me to end Racism against Blacks today in a peaceful way.<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">BE ADVICED
THAT IF YOU JOIN ME YOU WILL BE BLOCKED FROM MANY INTERNET FORUMS, YOU WILL BE
PUT UNDER OBSERVATION BY THE CALVINIST CHURCH EVEN IF YOU ARE NOT A MEMBER,
SECURITY PEOPLE IN THE LIBRARY WILL SPY ON YOU, AND THEY WILL SENT PEOPLE AFTER
YOU IN THE STREET TO SLANDER YOU IN A MOST GRIEVOUS WAY.<o:p></o:p></span></div>
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Egmond Codfried<o:p></o:p></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Curator
Suriname Blue Blood Is Black Blood Museum<o:p></o:p></span></div>
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Eemstraat 36<o:p></o:p></div>
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2515 VS Den Haag<o:p></o:p></div>
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<a href="http://bluebloodisblackblood.blogspot.nl/2013/09/my-publications-1.html"><span style="color: blue;">http://bluebloodisblackblood.blogspot.nl/2013/09/my-publications-1.html</span></a><o:p></o:p></div>
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http://minglecity.com/profiles/blogs/international-campaign-against-false-whitened-over-paints-of-all?page=5<o:p></o:p></div>
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<a href="mailto:bluebloodisblackblood@hotmail.com">bluebloodisblackblood@hotmail.com</a></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">The Hague,
2 September 2013<o:p></o:p></span></div>
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<h3 class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">COMMENTS ON
‘BLACK ATHENA REVISITED’ BY MARY LEFKOWITZ AND GUY MACLEAN ROGERS<o:p></o:p></span></h3>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Dear
Friends,<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Your book
is quite helpful to me as a non-scholar as your scientists actually break down
their science and eschew jargon for the benefit of popular readers. As I have
done historical research which centers around 1100-1848, I tend to view the
raised subjects in the light of my own blue blood is black blood theory. This
title is the shortest summary of my research, that blue blood, the highest and
for some the only true nobility, were Europeans with Black ancestors. This was
also the case with the Greek and Roman nobility, while the whites were
barbarians, serfs, and slaves. For the whites were considered Central Asian
immigrants in Europe.<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">The brown
and black complexioned European elite considered the peculiarly, perfectly
Black type, who had classical African facial traits, as pure of blood, as
distinguished, and as proof of noble blood in the bloodline. Pearls as
adornment symbolized purity of blood, noble blood. Nobility in Europe during
the Greek/Roman Era and the Modern Era was based on seniority, translated as
‘from the soil.’ The nobles were descendants of the first Europeans who came
from Africa, and considered themselves the only ‘true’ Europeans and they came
first. Like Africans today, they had all possible complexions. But although
Jane Austen (1775-1817) talks about colorism, skin bleaching, and painting the
face white called rouging or face enamelling. Or she discusses in her letters,
her stamping out the prejudice of a friend ‘who preferred light coloured men
above darker ones,’ the different shades of blackness mingled freely. They were
2-3% of the Europeans during the French Revolution; together with the non-noble
brown and black skinned Europeans, who were the bourgeoisie or gentry. As
intermarriages was mandatory among the nobility, blackness was breed back in.
Noble men would marry a heiress from the bourgeoisie class because they craved
the money from trade, and as nobility was only conveyed to the off spring, by
the men alone. So they could marry any non-noble woman if she had a suitable
dowry. I assume no white woman would do, and a noble person would cut
themselves from their family and peers, if they did. Jane Austen writes about
Francis Ward eloping, and marrying a white man Mr. Price, who had no education,
means or prospects: and was subsequently cut off by her family. Nobles were
forbidden to engage in trade.<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Othello was
a noble man from a royal line and he married Desdemona, who was fair, meaning
she was beautiful, not white. He was the highest-ranking person in Venice, and
the highest military leader. The supposedly ‘racist’ remarks are not racist,
but rather playing with the prejudices, the bourgeoisie or a gentry person like
Shakespeare himself, might harbour about the nobility and royalty. Yet his play
were performed in front of Royalty, paid by Royalty, but also with an audience
of the common people, with their well known class- and political resentments,
but who needed to be entertained too. I’m sure that when Gertrude says to her
son Hamlet: ‘Cast of thy nighted colour,’ she does not mean his clothes, which
are bound to be dark and sombre as he mourns his dead father. It’s rather
Shakespeare giving a stage direction about the complexion of a Prince of
Denmark, and turning it into a subtle joke, as a Black man cannot cast of his
black complexion. Or, that a person like Hamlet cannot be viewed apart from his
colour. Colour was important, as it conveyed nobility. Hamlet was like the
central Moor in literature or paintings, a symbol of nobility, blue blood, and
also a personage. Elements of Nobilitas were analysed, and these were well
understood by the intellectuals and nobles. The Moor was a heraldic symbol, and
in the arts a ‘pars pro toto,’ conveying the setting of a work of art and
literature. Jane Austen uses exceedingly handsome Mr. Elton (‘Mr. Elton, black
spruce, and smiling’) and Mr. Crawford (‘Absolutely plain, black and plain: but
still the gentleman.’) as Moors. As symbols, they are blameless, but as a
personage, they have their flaws. Mr. Elton comes from trade, and understands
the hierarchies below him, but not the hierarchy above him, as he deigns to
propose marriage to an outraged Emma Woodhouse, the Queen of Highbury. While
she, to his horror, designated him to marry her white friend Miss Harriet
Smith. Austen shows how the nobility equally looked down on the bourgeoisie as
they did on whites. This is the folly that lead to the great horror of the
French Revolution, when her niece’s husband, Count de Feuillide was beheaded.
Austen shows how the Black Europeans lost power by their own folly, educating
whites and giving them positions. <o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">The whites
were the serfs and villains, the ‘lower orders’ to Jane Austen and of the
French Revolution. They numbered 97%. When Austen remarks to her niece that
‘two to three families in a country town is just the thing to work with,’ she
means the percentage of 2-3% of brown and black complexioned Europeans who were
the elite. Austen is quite scientific in her estimations and facts.<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">What is
missing from the great Black Athena debate is that human races were invented
around 1760, and immediately gave rise to a hierarchy, with whites on top and
Blacks way below, just above the apes. Why? What changed in society that there
suddenly arose a need for the fantasy of Human Races. The poor Apes were
considered degenerated humans, who were morally evil. Who were the morally evil
people targeted by the otherwise wise philosophers of the Enlightenment? Surely
not the enslaved Black Africans, who were making their master richer by the
day. No farmer goes to the stable to kick his cows, which earn his money for
him. So, the philosophers, who were members of the bourgeoisie and brown and
black in looks, targeted the nobility. The nobility, no matter what they
actually looked like, self-identified as Black, with the use of heraldic Moors.
This explains the obsession of the European nobles with images of Moors. Thay
had names based on the root Moor, they called themselves Maurice, the Moor was
used in heraldry, they had Black Saints like St. Maurice, they had Black
Madonna’s, and there are toponyms based on Moor. Portraits of noble persons
with a small Moor should be understood as the noble person identifying as noble
and as Black. The little Moor was not a slave or a servant, although they might
have employed a Moor or two as servants, or musicians, to act as a living
heraldic symbol to herald their masters nobleness. Most did not get to be
depicted, and the painter, who was skilled enough did not to need a Black
person in front of him, but just whipped up the Moor from knowledge in many
portraits. Old Master portraits often only show the idealised face and
fantasized looks of the sitter, while the body shape, dress and ornament were
created in the studio. The faces were created to conform to certain standards,
and aesthetical rules, as a painter was obliged to create beauty. The sitter
wanted to convey status, majesty, nobility, intelligence, good looks etc. with
an expensive portrait.<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Beauty is
what the political elite says is beauty. Facts are what the political elite
says are facts. When the political elite changes, so do the facts and the
aesthetics. What were the major changes going on? Why was there a need to
invent races, a hierarchy, and racism? The nobility needed to go, as they
became an obstruction to progress and economical growth. So racism should be
considered a liberation ideology to wean whites away from their noble master,
they had worshipped as divine creatures. Racism was to teach whites not to
promote Blacks to positions of authority and power, as they did in the tenth
century when barbarians invaded Europe, and the nobility cast presented itself
as protectors. <o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Slavery of
Blacks was not motivated by racism against Blacks, but was based on greed and
the need for profit. The brown and black slave masters saw Africans as heathens
and uncivilized. They even claimed that slavery might civilize them, and teach
them how to live in a structured society. The Europeans loved their own natural
children with enslaved African women, and kept them near to them as house
slaves. They and their mothers benefited before all other slaves from
manumission. They even were educated and became inheritors, often of their own
mother or siblings. Fanny Price in Mansfield Park by Jane Austen, was based on
the real life, beloved niece of Lord Mansfield, Dido Elizabeth Longsay, who had
a mother, who was a former slave. Fanny Price is described in ‘Mansfield Park’
as a house slave. Dido was the Queen of Carthago. <o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">According
to Alison McQueen, The Rise of The Cult of Rembrandt In 19<sup>th</sup> Century
France, 2003, Rembrandt was, against all proof to the contrary, inducted by the
French revolutionary government, as a new figurehead and a new revolutionary
aesthetics was based on his supposedly revolutionary art. Like the Greek
civilization, his art was supposed to sprang fully formed from him, as he was
free from despotism, which was papism. Missing from this book is the fact that
whitening of all old master portraits became mandatory. To prevent backsliding,
as the images showed the true dark faces and aesthetics of the hated Ancien
Regime. They simply said the paint had darkened while the painter intended to
paint whites. In this way, all portraits were restored. What did they do to
stop the darkening? They over painted the portraits with beige, white and pink,
and it’s still discernible with the naked eye. The brown and black under layers
are still highly visible, and art specialist often rave about the false, beige
over paint layer, as if it was the authentic hand of the painter. Present day
restorers are lying through their genteel teeth. <o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">As they did
not alter the contours of the faces, about 10% of portraits show classical
African facial traits, the ones we call Black today. At least the portraits
submitted to the RKD in The Hague. Not all portraits seem to have been
submitted, not all have been restored and whitened. We know that classical
African facial features and frizzled hair go together with a dark or black
skin. So, white supremacy is based on whitened portraits of the brown and black
complexioned elite. From freshly painted portraits, engravings were drawn, for
quick and cheap reproduction, and these engravings still show the authentic
dark colouring. So, as thinking people, we can conclude: either the original
painting showed a brown or black complexioned person, or the paint darkened
over night, which is off course not possible. The painters depicted dark
skinned elite persons, and dark skinned ‘Greeks’ in mythological, genre pieces.
The whites were the outcasts, the common people, canaille, the greys, the lower
ranks, the plebeians, and till 1848, there was trade in human skins in Europe.
Whites were elevated into humans by the historical Declaration of Man. Life
flaying was a common execution performed in public. King Louis XVI was
presented with a pair of slippers made of human skin, on the eve of the French
Revolution. This must have had a highly symbolic meaning, as the whites, the
poor third estate were the enemy of the royals and the nobility. Louis XVI was
subsequently beheaded, sending shock waves through Europe, as was proven that
these heavenly creatures were not invincible. <o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">The year of
1848 brought the Final Revolutions to Europe, and in France the whites got
general male suffrage. Holland saw a major change in its constitution,
‘restricting certain privileges of the nobility.’ Presumably, whites were freed
from serfdom, and their skins were not used anymore to bind books and make
clothes or shoes for the elite. <o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">J.F.
Blumenbach appears to be a dark skinned Bourgeoisie, like his friend Goethe who
appears very black of skin. Blumenbach based race on skull structure, not on
complexion, and declared the European black and browns: Caucasians. In this
way, he forged a political coalition between the bourgeoisie and the third
estate, the whites, to topple the hated nobility. Human Race, seen as a true
social construct. They succeeded with the French Revolution, a long and major
conspiracy by the leaders of the Enlightenment. But the bourgeoisie stole this
Revolution, and did not honour agreements with the whites. Because of noble
restorations like the one by Napoleon, the whites had to fight on till 1848. To
prevent any counterrevolution, Blacks were painted and written out of history.
The Greek/Roman Civilization was whitened around the same time, although
preparations were made earlier while brown and black Europeans still wielded
power. Whites who were the barbarians, the slaves, the serfs, of history gave
themselves, or were given a history and turned themselves into the Greek/Roman
elite, and the Modern Age nobility. Martin Bernal came close to the truth, but
I seem to be the only person in the world who discovered this fraud with
portraits, and could make a connection between this and racism, and whites
being emancipated. <o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">The whites
came out of Central Asia, where Ice-mummies are found that look like white,
blond Europeans. European cannot be equated with white, as the first Europeans
were Africans and always remained brown and black. The Roma and Sinti are
descendents of these first Europeans, and according to David MacRitchie
remnants of forgotten royal and noble families who lost their privileges but
still act as if they have these rights. I have met a dark Bulgarian who
resembled a Pakistani, and he insisted he was not a gypsy, but belonged to
another group. The whites were most likely descendants of the albinos who left
Africa as a group to travel overland over India, to settle in a more benign
climate. They interbreed and became a foolproof white nation, just like how
white flowers, horses, rabbits or fish are bred. They are not albinos, but
descendents of albinos who are not sick people, but are sensitive to the sun.
The whites are the immigrants in Europe and today they want to finish the
process to wipe Blacks from history. By comparing whites to albinos, I do not
have any intention to insult, as albinos are not sick, as they can function in
any position. <o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Scientific
facts are those that the political elite considers facts, and when the elite
changed in 1848, Blacks were extirpated from memory and history. Yet they kept
the priceless portraits, they did not destroy them, so they still can be viewed
in their altered shape. The over paint restoration is still highly visible.
(This calls for empirical approach. No longwinded debate necessary, go and look
at the old portraits, talk to the restorers) The facial hair was repainted on
top of the fake beige layer, and the hair was lightened with blond highlights,
like a coupe soleil. Jane Austen’s and Charlotte Brontë’s personages are still
light brown, brown, very brown or black, and some talk at length about brown
and black beauty. The many Blacks in western art, the Moors, are talked about
but misunderstood. Family names have Moor as root. Science cannot establish a
genetic link with the hunter-gatherers who arrived 45.000 years ago, so the
ancestors of whites came later and ‘from elsewhere.’ They came 6000 years ago,
but mostly around 400 AD, and 1000 AD. Leading to the elevation of the Modern
Age nobility. Which fact might explain why Greeks were less outspoken about
whites, hiding their disdain in religious concepts, while in the Modern Age the
oppression was more ideological and severe. The symbolism of a profile of Black
King dominating a white woman, was the no nonsense symbol of Black superiority.
The Greeks seemed to favour the more benign vase with a black and a white head,
back to back. Also showing themselves as not white and not Black, but brown and
black complexioned. <o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
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</div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Whites
today want to finish the fraud of 1848 of turning history white, by eliminating
all references to Blacks. Blond actors play Austen’s brown and black
personages, even Mr. Elton, who was ‘black, spruce and smiling.’ Whites are not
available for rational discussion, even if they are scientifically trained.
They have banned me from all Internet forums, to prevent me from peacefully
present my research and my peaceful activism to end racism in a peaceful way,
by addressing the fake over paints in all museums. They (Professor M.
Lefkowitz) use strange logic: like Socrates might have looked flat nosed, but
nobody remarked on his supposed blackness, and if he was Black, he must have
had immigrant parents, and he could not have been a Greek citizen as an
immigrant, and nobody said he was an immigrant: so he could not have been
Black. Or Queen Cleopatra could not have been Black because she was Macedonian.
But so was Alexander de Great, who was seen and painted as swarthy (zwart,
Schwartz) by Apelles. Socrates was also painted as Black on a fresco seen in
Pompeii. Cleopatra could never have been white, considering the low position of
whites in Greece, as barbarians and plebeians and slaves. They were also
forbidden to marry nobles. The whole thing can be understood if we accept that
all portraits were whitened in 1848.<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
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</div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">As a
non-scholar, I do not have the burden of carrying around dubious theories, and
theoretical construction based on shaky theories. Assessing if some hapless 19<sup>th</sup>
century person can be trusted. I have little use for scientists, as scientist
never can agree on one thing, while basing their conclusions on the same data.
The controversy raised by Martin Bernal was not settled. Only Afrocentrism came
into the limelight, some Black scientists were even named, and most
astonishingly: their teachings were explained and criticised. My experience is
that there are persons that block the dissemination of my theory so nobody can
hear it. The resistance is organised, and some opponents are Blacks, fat cats
on the take. Obscurantism comes into play, so the ignorance of basic facts is
intentional. The teaching of philosophy has been de-fanged so students do not
really know what the Enlightenment and French revolution was all about, as it
would turn them into enemies of the present states. They understand the
philosophers as railing brilliantly against ghosts, and do not even know Blacks
were compared to apes, as a ruse to get rid of Black nobles, kings and
emperors. But mostly that brown and black people invented it all, though after
1848, racism went haywire, and all Blacks were now at peril. The black
philosophers opened a Pandora box when they introduced racism. All of history
is about Blacks, even if they are painted beige. European Blacks personally
turned white after 1880, yet Alfonso XIII of Spain looked extremely black and
thick lipped while visiting the US in 1923: in order to keep their power and
possessions. Paintings in public collections were over painted, retouched till
1968, but some un-retouched remain today in private collections. Perhaps they
are still whitened, by people today who insist to my face the paint has
darkened. <o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
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</div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">So racism
may end and Black and white can be at peace together.<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
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</div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Egmond
Codfried<o:p></o:p></span></div>
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</div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Curator Suriname
Blue Blood Is Black Blood Museum<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">The Hague<o:p></o:p></span></div>
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</div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Bluebloodisblackblood.blogspot.com<o:p></o:p></span></div>
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</div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">http://minglecity.com/profiles/blogs/international-campaign-against-false-whitened-over-paints-of-all?id=2322904%3ABlogPost%3A27420775&page=1<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">bluebloodisblackblood@hotmail.com<o:p></o:p></span></div>
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<o:p></o:p></div>
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</div>
Egmond Codfriedhttp://www.blogger.com/profile/10597005835134961469noreply@blogger.com0tag:blogger.com,1999:blog-1401624891557825179.post-61811358527671803922013-09-03T07:21:00.000-07:002013-09-03T07:21:09.315-07:00<h2 style="text-align: center;">
MY PUBLICATIONS</h2>
<div style="text-align: center;">
</div>
<div style="text-align: center;">
</div>
<div style="text-align: center;">
</div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;"><span style="mso-spacerun: yes;"> </span>1. 200 years a kingdom: portraits of the
brown and black complexioned, black Dutch royal house of Orange-Nassau
(1533-2013)<o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">Codfried,
Egmond / Suriname Blue Blood is Black Blood Museum / 2013 <o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
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</div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;"><span style="mso-spacerun: yes;"> </span>2. Badal, or, The suicide of a reformed
housenigger (CAN BE READ ONLINE)<o:p></o:p></span></span></div>
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</div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">Codfried,
Egmond / Codfried / 2012 <o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
<div style="text-align: center;">
</div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;"><span style="mso-spacerun: yes;"> </span>3. Was Jane Austen black?<o:p></o:p></span></span></div>
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</div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">Codfried,
Egmond / 1st ed / Codfried / 2011 <o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
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</div>
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<span style="font-family: Calibri;"><span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="mso-spacerun: yes;"> </span>4. Will there be another Holocaust? </span>=
Komt er weer een Holocaust?(CAN BE READ ONLINE)<o:p></o:p></span></div>
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<span style="font-family: Calibri;">Codfried, Egmond / Codfried / 2010 <o:p></o:p></span></div>
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<span style="font-family: Calibri;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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</div>
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<span style="font-family: Calibri;"><span style="mso-spacerun: yes;"> </span>5. Blue blood is
black blood : the iconographical proof of a dominating black and colored
European race who were a noble and royal elite (1500-1789) = Blauw bloed is
zwart bloed : het iconografisch bewijs van een dominerende zwarte en gekleurde
Europese natie die een adellijke en koninklijke elite was (1500-1789)<o:p></o:p></span></div>
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</div>
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<span style="font-family: Calibri;">Codfried, Egmond / Codfried / [2009] <o:p></o:p></span></div>
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<span style="font-family: Calibri;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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</div>
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<span style="font-family: Calibri;"><span style="mso-spacerun: yes;"> </span>6. De vijand van de
Neeger<o:p></o:p></span></div>
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<span style="font-family: Calibri;">Codfried, Egmond / Codfried / 2006-... <o:p></o:p></span></div>
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<span style="font-family: Calibri;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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</div>
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<span style="font-family: Calibri;"><span style="mso-spacerun: yes;"> </span>7. De vijand van de
Neeger ; Dl. 1: Ongeediteerde correspondentie en columns 2004-2006<o:p></o:p></span></div>
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</div>
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<span lang="DE" style="mso-ansi-language: DE;"><span style="font-family: Calibri;">Codfried, Egmond
/ 1e dr / Codfried / 2006 <o:p></o:p></span></span></div>
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</div>
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<span lang="DE" style="mso-ansi-language: DE;"><span style="font-family: Calibri;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
<div style="text-align: center;">
</div>
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<span lang="DE" style="mso-ansi-language: DE;"><span style="font-family: Calibri;"><span style="mso-spacerun: yes;"> </span>8. Carmelita, Carmen!<o:p></o:p></span></span></div>
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</div>
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<span lang="DE" style="mso-ansi-language: DE;"><span style="font-family: Calibri;">Codfried, Egmond
/ 1e dr / Codfried / 2006 <o:p></o:p></span></span></div>
<div style="text-align: center;">
</div>
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<span lang="DE" style="mso-ansi-language: DE;"><span style="font-family: Calibri;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
<div style="text-align: center;">
</div>
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<span lang="DE" style="mso-ansi-language: DE;"><span style="font-family: Calibri;"><span style="mso-spacerun: yes;"> </span>9. Maria Susanna Du Plessis (1739-1795) :
dader of slachtoffer?<o:p></o:p></span></span></div>
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</div>
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<span lang="DE" style="mso-ansi-language: DE;"><span style="font-family: Calibri;">Codfried, Egmond
/ 8e bew. dr / Codfried / 2005 <o:p></o:p></span></span></div>
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</div>
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<span lang="DE" style="mso-ansi-language: DE;"><span style="font-family: Calibri;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
<div style="text-align: center;">
</div>
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<span style="font-family: Calibri;"><span lang="DE" style="mso-ansi-language: DE;"><span style="mso-spacerun: yes;"> </span></span>10. Belle van Zuylen's vergeten oma:
Maria Jacoba van Goor (1687-1737) : een beknopte studie over zwarten en
kleurlingen in Europa en Nederland door de eeuwen heen<o:p></o:p></span></div>
<div style="text-align: center;">
</div>
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<span lang="DE" style="mso-ansi-language: DE;"><span style="font-family: Calibri;">Codfried, Egmond
/ 1e verb. dr / Codfried / 2005 <o:p></o:p></span></span></div>
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</div>
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<span lang="DE" style="mso-ansi-language: DE;"><span style="font-family: Calibri;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
<div style="text-align: center;">
</div>
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<span lang="DE" style="mso-ansi-language: DE;"><o:p><span style="font-family: Calibri;"> </span></o:p></span></div>
<div style="text-align: center;">
</div>
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<span style="font-family: Calibri;"><span style="mso-spacerun: yes;"> </span>11. Belle van
Zuylen's vergeten oma: Maria Jacoba van Goor (1687-1737) : een beknopte studie
over zwarten en kleurlingen in Europa en Nederland door de eeuwen heen<o:p></o:p></span></div>
<div style="text-align: center;">
</div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">Codfried,
Egmond / Codfried / 2004 <o:p></o:p></span></span></div>
<div style="text-align: center;">
</div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
<div style="text-align: center;">
</div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;"><span style="mso-spacerun: yes;"> </span>12. Maria Susanna Du Plessis (1739-1795) :
dader of slachtoffer?<o:p></o:p></span></span></div>
<div style="text-align: center;">
</div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">Codfried,
Egmond / 4e bew. dr / Egmond Codfried / cop. 2003 <o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
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</div>
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<o:p><span style="font-family: Calibri;"> </span></o:p></div>
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</div>
Egmond Codfriedhttp://www.blogger.com/profile/10597005835134961469noreply@blogger.com0tag:blogger.com,1999:blog-1401624891557825179.post-37814798425841709262013-08-31T02:52:00.001-07:002013-09-05T07:18:55.279-07:00<h2 style="text-align: center;">
A. VAN CRUYNINGEN, REACTIES OP MIJN ONDERZOEKSVRAGEN</h2>
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Boeken gekaft met menselijk leer</div>
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Willem I van Oranje: donker en prognastisch</div>
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Prins Maurits, opvolger van zijn vader Willem I van Oranje, donker en prognastisch: gravure naar een onbekende Van Mierevelt</div>
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Willem I van Oranje en zijn tweede vrouw, Anna van Saxen, de moeder van Prins Maurits.</div>
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Graaf Johan VI van Nassau, de broer van Willem I van Oranje<br />
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Stadhouder Willem IV van Oranje-Nassau, een nakomeling van Graaf Johan VI, en voorvader van Beatrix en Willem Alexander: donker van huid en zeeer sterke klassiek Afrikaanse trekken</div>
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Maurits van Saxen, schoonvader van Willem I van Oranje<br />
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Johan de Witt, was als een premier van Nederland</div>
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behoorde tot de bourgeoisie, of regentenklasse</div>
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Koning-Stadhouder Willem III, koning van Engeland, Stadhouder van Nederland</div>
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JF Blumenbach: uitvinder van het Kaukasische ras, hij groepeerde witte en zwarte Europeanen onder de noemer van Kaukasiers vanwege politieke redenen.</div>
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Koning Willem I van Oranje Nassau, donker van huid en prognastisch op andere afbeeldingen. Zijn vader was Stadhouder Willem V van Oranje Nassau.</div>
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Groothertogin Sophie: Een zus van koning Willem III, toont een donkere huid en een brede neus.</div>
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Maria Henriette Stuart, de vrouw van Stadhouder Willem II. De Moor is geen echte persoon, maar een heraldische figuur en symboliseert blauw bloed, en Zwarte Suprematie. De parels staan voor zuiver adellijk bloed.<br />
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Koning Charles II Stuart, broer van Maria Henriette Stuart, werd The Black Boy genoemd, en beschreven als A tall Black man. Gravure naar een geschilderd portrat welke nu is gewit.</div>
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De lijfstraffen en executies van de periode 1100-1848 waren erg wreed.</div>
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Prinses Marianne, de dochter van Koning Willem I: de prent toont haar donkere huidkleur.</div>
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Maria Jacoba van Goor (1687-1737), de oma van barones Belle van Zuylen. De toevallige vondst van dit portret bij het RKD/IB stond aan het begin van het blue blood onderzoek. Ze was een erg rijke Amsterdamse, haar opa was groothandelaar op de Levant, haar moeder een nicht van Rembrandt. Ze was rijk vanwege aandelen in slavenhandel en handel in producten uit slavenarbeid. De Brabantse familie behoorde tot de groep van oorspronkelike Europeanen en de familie Van Goor oogde klassiek Afrikaans. Opvallend is dat de zus van Belle van Zuylen nooit wordt getoond. Ik vermoed dat zij van alle kleinkinderen van Maria Jacoba van Goor de sterkste Afrikaanse trekken had, en of dat zij ook met deze gelaatstrekken is afgebeeld. Andere Van Goor portretten zijn wellicht in de collectie van Slot Zuylen waar men ze als anoniem en onbekend heeft aangemerkt. <br />
Omdat ze Zwart ogen, zoals dit portret.<br />
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<span style="color: black; font-size: 12pt; mso-ascii-font-family: Calibri; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL; mso-hansi-font-family: Calibri;"><span style="font-family: Calibri;">Uw
witte Oranjes die nooit hebben bestaan!<o:p></o:p></span></span></div>
<div style="text-align: left;">
<span style="color: black; font-size: 12pt; mso-ascii-font-family: Calibri; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL; mso-hansi-font-family: Calibri;"><span style="font-family: Calibri;">Dank
u. Dit waren van uw kant de puntjes op de i. de inhoud van de mails spreken
verder voor zich. ben ik even blij dat ik geen academisch gevormde historicus
ben die schrijft over witte Oranjes die nooit hebben bestaan.</span></span></div>
<div style="text-align: left;">
<span style="color: black; font-size: 12pt; mso-ascii-font-family: Calibri; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL; mso-hansi-font-family: Calibri;"><span style="font-family: Calibri;"></span></span> </div>
<div style="text-align: left;">
<span style="color: black; font-size: 12pt; mso-ascii-font-family: Calibri; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL; mso-hansi-font-family: Calibri;"><span style="font-family: Calibri;">Egmond Codfried</span></span></div>
<div style="text-align: left;">
<span style="color: black; font-size: 12pt; mso-ascii-font-family: Calibri; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL; mso-hansi-font-family: Calibri;"><span style="font-family: Calibri;">Suriname Blue Blood Is Black Museum</span></span></div>
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<span style="color: black; font-size: 12pt; mso-ascii-font-family: Calibri; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL; mso-hansi-font-family: Calibri;"><span style="font-family: Calibri;">==========================================================<br />
<o:p></o:p></span></span></div>
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</div>
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<span style="color: black; font-size: 12pt; mso-ascii-font-family: Calibri; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL; mso-hansi-font-family: Calibri;"><span style="font-family: Calibri;">> From: cruyning@xs4all.nl<br />
> To: egmondcodfried@hotmail.com<br />
> Subject: Re: Magix Online Wereld - Nieuwe contactaanvraag via uw website
http://www.arnoutvancruyningen.nl<br />
> Date: Tue, 3 Sep 2013 22:08:44 +0200<br />
> <br />
> Mijnheer Codfried,<br />
> <br />
> Het mailverkeer verloopt blijkbaar niet helemaal synchroon, wat wellicht
nog <br />
> bijdraagt tot de algehele verwarring. U loopt kennelijk steeds een mail <br />
> achter, waardoor ik tot mijn verrassing met enige vertraging wordt vergast
<br />
> op het vuur van uw toorn. Uw inventiviteit in het beledigen van mensen
kent <br />
> geen grenzen, al is de toon nu beduidend milder dan in eerdere mails.<br />
> <br />
> Ik hoop dat u mij niets meer zult sturen, maar mocht u dat toch willen
doen, <br />
> zal ik voortaan uw mails ongeopend verwijderen. Dit om mij onnodige
ergernis <br />
> te besparen. Ik ben inmiddels beschuldigd van medewerking aan een nieuwe <br />
> holocaust, racisme en grootscheepse wetenschapsfraude en nog meer lelijks.
<br />
> Het is genoeg.<br />
> <br />
> Aangezien u de correspondentie, ondanks de geconstateerde lage kwaliteit, <br />
> kennelijk voor het nageslacht wenst te bewaren, op te slaan en af te <br />
> drukken, wil ik in deze 'afscheidsmail' een aantal zaken nog eens
duidelijk <br />
> stellen:<br />
> <br />
> U heeft mij als lezer van een van mijn boeken benaderd met de vraag of u
mij <br />
> enkele (volgens u) onbekende portretten van Oranjes mocht toesturen. <br />
> Uiteraard mocht dat. Daarop heeft u mij enkele vage z/w fotokopieën doen <br />
> toekomen, zonder nadere uitleg of enige vraagstelling. Ik heb daarop uit <br />
> eigen beweging enkele door u op internet gepubliceerde teksten bekeken en
u <br />
> vervolgens laten weten dat ik daar weinig mee kon beginnen en van uw <br />
> onderzoek via de geëigende wetenschappelijke kanalen kennis wenste te
nemen. <br />
> U stelt geen onderzoeksvragen maar presenteert een alomvattende theorie
die <br />
> in strijd is met vrijwel alles wat een academisch gevormd historicus <br />
> weet/heeft geleerd en naar beste weten doceert. U poneert geen stelling, u
<br />
> proclameert een compleet geschiedbeeld dat haaks staat op overlevering en <br />
> traditie en de volledige historiografie terzijde schuift. U provoceert <br />
> voortdurend. Wie het niet met u eens is, is dom, boosaardig, achterlijk, <br />
> racistisch, getraumatiseerd en/of vervalst de boel willens en wetens. Die <br />
> houding nodigt niet bepaald uit tot een dialoog. Bovendien: de <br />
> geschiedvorser die krasse beweringen doet, heeft de plicht daarvoor <br />
> overtuigend, geschreven bewijsmateriaal aan te dragen. Hoe krasser de <br />
> bewering is, en krasser dan de uwe kunnen ze haast niet zijn, des te <br />
> overtuigender en overstelpender dat bewijs zal moeten zijn. Als <br />
> bewijsmateriaal ontbreekt, zal hij moeten zoeken tot hij het heeft <br />
> gevonden - zich tot die tijd liefst hullen in bescheidenheid - en ten
slotte <br />
> wellicht moeten constateren dat het er niet is, zodat de bewering op zijn <br />
> minst discutabel is. Het is de omgekeerde wereld om te menen dat iemand <br />
> anders de ongefundeerde krasse beweringen maar moet weerleggen. Op die <br />
> manier kan iedereen de wildste dingen van de daken schreeuwen en vervolgens
<br />
> anderen het werk laten doen.<br />
> <br />
> Van schrijver dezes en andere ´gevestigde´ historici mag u het uwe denken.
U <br />
> mag hen bekrompen, vooringenomen, onnozel vinden. Het wordt echter in het <br />
> beste geval aantasting in de beroepseer en in het ergste geval smaad en <br />
> laster wanneer u hen in geschrifte van de meest gruwelijke
wetenschappelijke <br />
> en morele wandaden gaat betichten.<br />
> <br />
><strong> Vaarwel</strong>.<br />
> <br />
> A.J.P.H. van Cruyningen<br />
</span></span></div>
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<o:p><span style="font-family: Calibri;"> </span></o:p></div>
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==============================================================<br />
<br />
<br />
Den Haag, 2 september 2013<br />
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<span style="font-family: Calibri;">Gestrenge heer A. van Cuyperen,<o:p></o:p></span></div>
<br />
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<span style="font-family: Calibri;">Nu heeft u mij dus weer een aantal mails gestuurd voor
verder <span style="mso-spacerun: yes;"> </span>onderzoek en analyse, en die
natuurlijk ook opgenomen worden in mijn aanstaande studie. Natuurlijk nog
steeds geen concrete reacties op mijn onderzoek. Hierdoor zijn ze van lage kwaliteit en nemen een inferieure positie in mijn onderzoek in. Ontdekte Numa Fustal de
Coulanges, die antwoorden geeft op de vraag hoe de adel is ontstaan. Helaas geen
informatie over kleur en adel, ook bij de Grieken en Romeinen die in 1848 ook
werden gewit. Sheick Anta Diop citeert hem. Uw opmerking dat u spijt heeft van
het beantwoorden van mijn mails markeert u in mijn ogen als oneervol. Onwaardig
en minder dan een man. Tot nu toe had ik respect voor u als mens en uw
verdiensten en uw succes. Ik bespeurde een Jane Austen kwaliteit in uw boek, en
moest hem een enkele keer neerleggen om te kunnen lachen vanwege de subtiele
humor. Helaas heeft u dus nu een grote daling in mijn achting gemaakt. In ieder
geval heb ik nu een beter beeld van waar ik mee te maken heb, en waarom dat
klinkt zoals het klinkt. Jammer. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">Hoogachtend.<o:p></o:p></span></div>
<br />
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<span style="font-family: Calibri;">Egmond Codfried<o:p></o:p></span></div>
</div>
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<br />
<br />
<br />
<br />
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Den Haag, 1 september 2013-08-31<o:p></o:p></div>
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<o:p> </o:p></div>
Aan de heer A.van Cruyningen,<o:p></o:p><br />
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<o:p> </o:p></div>
Weledelgestrenge hooggeboren heer A.F. van Cruyningen,<o:p></o:p><br />
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<o:p> </o:p></div>
In reactie op uw laatste bericht. Na herlezing van uw mails
kom ik tot de conclusie dat er niets ‘persoonlijks’ of ‘privé’ aan uw mails te
ontdekken is. Ik heb immers als junior onderzoeker<span style="mso-spacerun: yes;"> </span>een doorwinterde wetenschapper
onderzoeksvragen gesteld in het kader van mijn eigen onderzoek en hij heeft
gereageerd. De antwoorden zijn onderdeel van mijn data voor onderzoek, omdat ze
de orthodoxie over de vermeende etniciteit van de Oranjes verwoorden. <o:p></o:p><br />
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<o:p> </o:p></div>
Ze vormen dus bewijs, de illustratie van wat ik beweer dat
jullie denken dat de adel en de Oranjes witte mensen waren. Verder zullen
toekomstige generaties zich met mij kunnen verwonderen over het feit dat u
ondanks de confrontatie met de fysieke bewijzen, toch wilt vasthouden aan de
leugenachtige versie. Op een dag zal ik begrijpen waarom mensen die dit bewijs
zien toch willen denken dat de Oranjes en de adel witte mensen waren. Is deze
waarheid dan zo verschrikkelijk? Ik heb geprobeerd mij in te leven en ik stel
mij voor dat uw voorvader levend werd gevild zodat de adellijke heer en zijn
vrouw weer nieuwe schoenen konden laten maken, en dat deze verschrikking zich
wellicht heeft gehecht aan de herinnering in uw familie. Zonder dat zij de
bijzonderheden nog weten, staat hun vast dat alle zwartheid ontkent moet
worden. <o:p></o:p><br />
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<o:p> </o:p></div>
Als er staat dat Prinses Marianne ‘witter dan wit was’ op
een hofbal, dan dient u te begrijpen dat ze zichzelf met loodwit of zinkwit wit
had geverfd. Deze contradictie heb ik ook vastgesteld, dat ze nooit met witten
zouden trouwen, maar toch in sommige gevallen de gebleekte of witgeverfde huid
mooi vonden en ‘face enamelling’ toepasten. Queen Alexandra schilderde zich tot
1925 helemaal roze met zinkwit (?) en een drupje karmozijn, en hulde zich in
sluiers. Verdere verwarring is dat de bourgeoisie, de regenten kaste een grote
haat voelde tegen de adel die op hen neerkeek, hoewel zij in uiterlijk leken op
deze bruin en zwart gekleurde adel. Maar de bourgeoisie was niet aanwezig op de
oprichtingsvergaderingen in 1100-1200 waarbij een deel van de oorspronkelijke
Europeanen die uit Afrika kwamen: zich tot een adel verhieven. <o:p></o:p><br />
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<o:p> </o:p></div>
De regenten werden een soort bestuurlijke tussenlaag tussen
adel en witte lijfeigenen en horigen, uw witte voorouders. De bourgeoisie
wetenschapper, volgden Blumenbach, die de bruine en zwarte bourgeoisie tot
Caucasiers verklaarde. Hij maakte daarmee kleur tot een sociale constructie en
maakte een politieke eenheid tussen bourgeoisie en witten om de adel omver te
gooien. De adel zelf identificeerde als Zwart met heraldische Moortjes,
klassieke Afrikanen. Dus als men zegt dat er geen zwarten in Europa waren, dan
heeft men het over deze wonderlijke constructie en werden alle Zwarten, de
eerste en oudste inwoners van Europa, uit de geschiedenis geredeneerd. En kreeg
de gedachte de overhand dat alle Zwarten in Europa alleen maar immigranten
waren, en dan vooral slaven. Zwarten worden vandaag er constant aan herinnerd
dat een deel van hen vanaf 1444-1863 slaven waren. Maar ten onrechte wordt niet
verteld dat ook witten sinds 1100-1848 door dezelfde bruine en zwart gekleurde
elite, als lijfeigenen en schoenleervee werden gehouden. Zij die ook de Zwarten
ontvoerde en importeerde in Europa om hen tot slaven te maken. De witte
lijfeigenen zien wij ook terug in de Amerika’s als de eerste witte slaven. Bij
de afschaffing van de slavernij in Amerika had men het vaak over het feit dat
veel slaven er gewoon als witte mensen uitzagen. Dat was nadat witte mensen in
Europa waren geëmancipeerd en men al sinds 1790 bezig was de geschiedenis wit
te maken. <o:p></o:p><br />
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<o:p> </o:p></div>
Intussen ben ik mij aan het inlezen in de ophef rond ‘Black
Athena’ door Mike Bernal die mijn onderzoek bevestigt dat de Griekse beschaving
in de 1840-ger jaren werd gewit. Men heeft toen het eeuwenoude ‘klassieke
model’ losgelaten dat de Griekse beschaving schatplichtig was aan Egypte, en
vervangen door een ‘Ariërs model’ dat noordelijke witten Griekenland
binnenvielen, en dat deze witte beschaving helemaal uit zichzelf tot volle
bloei kwam. Wellicht door witte superioriteit, daar witte mensen verondersteld
worden beschaving te personifiëren. Ik heb gevonden dat de schilder Apelles
Alexander de Grote als ‘swarthy’(zwart, schwartze) zag en hem ook zo zwart op
een fresco in Pompeji afbeeldde. Zijn zoogbroeder was ook Zwart. Dus
aannemelijk voor mij was de Grieks/Romeinse elite dezelfde zwart en bruine
Europeanen die met lede ogen zagen hoe de witte barbaren, uw<span style="mso-spacerun: yes;"> </span>Centraal Aziatische voorouders, Griekenland
binnenstroomden. Zij werden de slaven en het plebs, en het was hun streng
verboden met de adel te trouwen. <o:p></o:p><br />
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<o:p> </o:p></div>
Dat verklaart ook dat Cleopatra geen witte vrouw kon zijn
geweest, ondank haar Macedonische voorouders, omdat men Europees niet kan
gelijkstellen aan wit. Men zou nooit een witte familie of een witte vrouw op de
troon van Egypte dulden. Het zou hen zelf niet lukken in de buurt van deze
troon te komen, gezien de erg lage prestige van witten. Zij zijn dus de
immigranten in Europa en zijn sinds hun emancipatie in 1848 bezig deze waarheid
weg te werken. Ik merk dat het naar een hoogtepunt gaat. Daar de fysieke
bewijzen en teksten bewaard blijven, maar dat witte mensen als u ervoor kiezen
om over de woorden ‘bruin’ en ‘zwart’ te lezen, lijkt het alsof er geen Zwarten
waren. Van Beresteyn (1933, 1) schrijft dat Willem van Oranje ‘meer bruin dan
wit’ en ‘bruyn van verve ende baerbe’ was. Ik zie niet in hoe dit iets anders
kan betekenen dat hij zeer donker van huid was. Gravures naar geschilderde
portretten tonen hem als erg donker met subnasale prognastie en kroes haar, wat
algemeen als klassieke Afrikaanse gezichtkenmerken worden gezien. Zijn
schoonvader Maurits van Saxen was hyperzwart, dus kennelijk zeer adellijk, wat
bewijst dat Anna van Saxen ook zwart was, en dat Prins Maurits zwart van huid
en prognastisch was. Ze leken op Mugabe, Mandela, Obama, Oprah Winfrey en
Humberto Tan, en heersten met harde hand over de witte voorouders van u. <o:p></o:p><br />
<br />
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<o:p> </o:p></div>
Dat is de oorzaak van de beschaving van Europa, en de
kerstening van Europa, want met de economische exploitatie van de witten kwam
ook de culturele en religieuze indoctrinatie van de witten. Met de overmaat aan
religie en de connectie tussen koningschap en religie in uw boeken, neemt u
deze indoctrinatie serieus verder ter hand. Dat de witten hun eigen
onderwerping aan adel en kerk in stand hielden, is zoals slaven zichzelf in
slavernij houden. Dus verzonnen hun revolutionaire leiders vanaf 1760 de menselijke
rassen inclusief een wonderlijke verzonnen hiërarchie tussen de verzonnen
menselijke rassen, met racisme als een nieuwe godsdienst en
bevrijdingsideologie. Alle zegeningen van de Verlichting zijn intussen
verdampt, alleen racisme is gebleven. En u bent dus één van de uitdragers van
de geschiedvervalsing van na 1848. <o:p></o:p><br />
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<o:p> </o:p></div>
Ik denk dat als een mens eenmaal de waarheid heeft gezien,
hij dat niet meer uit zijn geest kan halen. Net zoals men geen baby terug kan
duwen in de baarmoeder zal de waarheid zich manifesteren. Mijn theorie
verklaart waarom er spanning is tussen wit en zwart. De witte Nederlanders
hebben sinds 1980 zichzelf verheven tot echte Europeanen, van de bodem, en de
bruine en zwarte burgers tot ‘allochtonen’ verklaard. Een mindere soort, een
gevaar, en kandidaten voor de aanstaande Holocaust.<o:p></o:p><br />
<br />
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<o:p> </o:p></div>
Kortom, u heeft mij geen privé mails gestuurd, ik ben totaal
niet geïnteresseerd in uw privé leven of privé opvattingen, ik heb slechts
wetenschappelijke data verzameld, en het is aan mij hoe ik dat ga gebruiken.
Verder is mijn onderzoek niet van die aard om de handelingen van de Oranjes te
bestuderen, en uw boeken geven geen informatie over wat er precies veranderde
in 1848 toen de pederastische Koning Willem II van Oranje-Nassau die de juwelen
van zijn vrouw stal, opeens van conservatief in een liberaal veranderde. Hier
in obscurantistisch Nederland legt men geen verband tussen de beroemde
grondwetswijziging van 1848 met de laatste Revoluties van Europa van 1848,<span style="mso-spacerun: yes;"> </span>waarover men per land kan lezen in google/Wikipedia:
die de lijfeigenen gelijke rechten en stemrecht gaf. Onze grondwetswijzing was
geen geïsoleerd of uniek verschijnsel. Dus is er zelfs weinig kans dat ik uw
anekdotische, fantasie en onzinverhalen over witte Oranjes die niet bestonden,
wat hier te lande voor wetenschappelijk onderzoek doorgaat en wat jullie
allemaal tot kleine Diederik Stapels maakt; zou willen citeren. Indien ik dat
toch wil doen zal ik zeker zorg voor dragen dat men weet wie die onzin heeft
verzonnen, namelijk de geleerde professor A. Van Cruyningen. Deze lange reactie
schrijf ik trouwens ten behoeve van mijn eigen publicatie. Ik heb nooit uw
approbatie gezocht. <o:p></o:p><br />
<br />
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<o:p> </o:p></div>
De laatste fase van mijn onderzoek, het aanhangig maken van
de over schildering van portretten werd geïnspireerd door het boek van Alison
McQueen, The Rise of The Cult of Rembrandt in 19th Century France (2003), een
witte Canadese vrouw in Amsterdam. Hoewel zij niets over het over schilderen
zegt, kon ik eindelijk de motivatie afleiden waarom men de persoon en het werk
van Rembrandt heeft gebruikt om de geschiedenis te vervalsen. Veel Nederlanders
vertellen met droge ogen dat de verf ‘donker’ was geworden, want de figuren
oogden donker, en dat was omdat de schilders donkere mensen afbeelden. Men had
de keus tussen vernietigen van kunstwerken of ze te ‘restaureren,’ wat witten
met beige en roze verf betekende. En nog steeds zichtbaar is en is af te leiden
uit restauratie verslagen die de vroege 19<sup>e</sup> eeuwse datum noemen van
de eerste ‘restauratie,’ welke in feite een retouche en een over schildering
was of zoals ik het definieerde ‘een iconografische interventie.’ Maar men
beweert niet te weten wat de eerste restaurateurs aan ingrepen deden, terwijl
men met het blote oog de overschildering kan zien, en dat het gezichtshaar over
de valse, lelijke laag heen is geschilderd. <o:p></o:p><br />
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<o:p> </o:p></div>
Bij Mona Lisa door Leonardo Da Vinci heeft men het
gezichtshaar weggelaten na overschildering, dus heeft ze geen wimpers of
wenkbrauwen, terwijl een getuige schreef dat zij oorspronkelijk dikke
wenkbrauwen had. Sommige restaurateurs konden het kennelijk niet nalaten hun
eigen stempel op de werken te drukken of iets eigentijds aan toe te voegen, met
opvallende, impressionistische verfstreken bijvoorbeeld. Men heeft de narratief
van de kunstwerken, en de kunstcollecties die de macht en de opgelegde,
leidende esthetiek; die de macht van het Ancien Regime weerspiegelde, en
verbeelde veranderd, en de voormalige witte slaven, het canaille, het
grauw<span style="mso-spacerun: yes;"> </span>tot de heersende, adellijke en
koninklijke kaste verheven. Een abominatie, en ik ben door god belast om deze
leugen te stuiten.<o:p></o:p><br />
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<o:p> </o:p></div>
<br />
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Hoogachtend.<o:p></o:p></span></div>
<br />
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Egmond
Codfried<o:p></o:p></span></div>
<br />
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Conservator
Suriname Blue Blood Is Black Blood Museum<o:p></o:p></span></div>
<br />
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Blueblood
is black blood.blogspot.com<o:p></o:p></span></div>
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Eemstraat 36<o:p></o:p></div>
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2515 VS Den Haag<o:p></o:p></div>
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Briefwisseling met een
koningshuisdeskundige A.van Cruyningen,</h3>
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betreft onderzoeksvragen en afbeeldingen die ik hem stuurde</h3>
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<!-- google_ad_section_start -->Geachte heer
Codfried,<br />
<br />
Dank voor uw laatste reactie, die ik maar als slotstuk van ons
kortstondige, door u geïnitieerde contact wil beschouwen. Ik vrees toch dat u
aan zekere verblinding lijdt en alleen ziet wat u wilt zien, terwijl u dit de
ander juist verwijt. Het ene portret van Maurits van Saksen is inderdaad
opmerkelijk en was mij nog niet bekend. Bij de andere portretten zijn de
'donkere' trekken volgens mij meestal te verklaren uit de wijze van
vervaardiging/reproductie. Ik heb zo'n beetje mijn leven lang in al dan niet
Koninklijke archieven doorgebracht en heb nog nooit enige aanwijzing of een
spatje bewijs voor uw theorie aangetroffen. Wat prinses Marianne, van wie ik een
biografie schreef en van wie ik zo'n beetje alle portretten heb gezien, in uw
collectie doet is me al helemaal een raadsel. Het spijt me zeer. <br />
Ten slotte:
uw opvatting over 'de twijfelachtige verdiensten van Willem van Oranje' deel ik
volstrekt niet. Die verdiensten zijn voor mij boven elke twijfel verheven en
staan volstrekt los van welke raciale achtergrond of kenmerken dan
ook.</div>
<div class="intelliTxt KonaBody">
<br />
Hoogachtend,<br />
A.van Cruyningen<br />
<br />
Van: Egmond Codfried<br />
Onderwerp:
verontschuldigingen voor mijn krachtige taal</div>
<div class="intelliTxt KonaBody">
Hooggeboren heer van Cruyningen,<br />
<br />
U heeft
inderdaad de volle laag gekregen van zeven jaar van vreemde en beledigende en
kwetsende reacties van uw andere vakgenoten en landgenoten. Ik heb bewondering
voor uw werk, moest af en toe erg lachen vanwege de ironie en dat u de
Koninklijke personen niet spaart: maar dat u verzwijgt dat het om 'Neegers' gaat
is zeer kwalijk. U zegt sommige afbeeldingen al gezien te hebben, maar vanwege
de indoctrinatie dat het alleen witten kunnen zijn, zag u alleen witten. Als
Willem I van Oranje vandaag zou opstaan uit de doden, vanwege zijn
twijfelachtige verdiensten, dan restte hem slechts werk als schoonmaker of in de
koelcellen voor het aansnijden van dode runderen. Sprak hij wel
Nederlands?<br />
<br />
Wat mij als zeer geïnformeerde waarnemer opvalt is de boze
reacties van witte Nederlanders en dat ze ook, als opgeleide en fatsoenlijke
personen, mij onbehoorlijk toespreken en aanvallen. Durven twijfels te plaatsen
bij mijn verstand waar ik deze portretten niet heb gemaakt. Ik heb ze opgediept
uit de collecties van het Iconografisch bureau o.a. Alle persoonsbeschrijvingen
tref ik in studies door witte mensen als u zelf geschreven. Ik ben de
boodschapper en vraag: waarom worden deze als bruin en zwart beschreven personen
als witten gepresenteerd. En waarom haten de witten ons zwarten zo erg.
Pieterbaas is een racistische initiatie sinds 1848, toen de witten geëmancipeerd
werden.<br />
<br />
Nog steeds verzuimt u uw deskundige uitleg over deze portretten
en wat ik correctheidshalve wel zou mogen zien in het pikzwarte gelaat van de
zwaar prognastische Maurits van Saksen. Prins Maurits was prognastisch. Vreest u
de reactie van uw soortgenoten? De oranjes moeten op de hoogte zijn van hun
Zwarte, 'negerachtige' voorvaders als ze niet achterlijk zijn. <br />
<br />
Bedankt
dat u reageerde. Ik wil deze reacties GEANONIMISEERD gebruiken als falsificatie
bij mijn beweringen zodat de doelgroep kan lezen hoe een koningshuiskenner die
anoniem blijft reageert op mijn onderzoek. Ik hoop dat u begrijpt dat ik geen
conflict met u heb en als verantwoordelijke onderzoeker dit resultaat van
confrontatie met afbeeldingen van de Oranjes als de Zwarten die ze zijn, deel
maak van mijn bewijsvoering. Ik noem de situatie van witte Nederlanders een
'intellectuele afasie' dat ze zo zijn getraumatiseerd door de beschavingsijver
van Zwarten, dat ze naar pikzwarte portretten kijken en geen Zwarten
zien.<br />
<br />
Ik wens u een fijne dag en veel succes met uw bijzondere
boeken.</div>
<div class="intelliTxt KonaBody">
Hoogachtend<br />
Egmond Codfried </div>
<div class="intelliTxt KonaBody">
Geachte heer Codfried,<br />
<br />
Dank voor
uw bericht. Het is erg jammer dat u voor zo'n agressieve benadering kiest. Het
is uiteraard niet mijn bedoeling u als persoon aan te vallen. Ook van uw
onderzoek weet ik (nog) te weinig om er veel van te kunnen zeggen. Het is
slechts de door u geformuleerde theorie, waar ik mijn (ernstige) bedenkingen bij
heb en vooralsnog houd. Alle opmerkingen in uw laatste mail zijn voor uw
rekening. U ziet kennelijk iets anders in de afbeeldingen dan ik; daar kan ik
helaas niets aan doen. Over de iconografie van de Oranjes kunt u misschien beter
contact opnemen met kunsthistorici, al vraag ik mij af of zij uw theorie over
het witten van afbeelding op enigerlei wijze kunnen onderschrijven.<br />
<br />
Ik
ben u ondertussen erkentelijk voor het feit dat u in ieder geval de moeite hebt
willen nemen, mij summier van uw onderzoek/theorie op de hoogte te stellen. Uw
veronderstellingen over mijn persoon en (wetenschappelijke/morele) instelling
zijn niet alleen onjuist maar zeer onheus. Ik betreur dit zeer. Nogmaals: als u
het bij het rechte eind heeft, verdient u een Nobelprijs en zal ik nederig mijn
gehele werk herzien. Maar voor het zover is, zal er nog heel wat
overtuigingsarbeid moeten worden verricht en zult u met buitengewoon overtuigend
bewijsmateriaal op de proppen moeten komen. Het bezigen van grofheden aan het
adres van degenen die met u van mening durven te verschillen, zal u - zo vrees
ik - op dit punt niet veel verder helpen.<br />
<br />
Hoogachtend,<br />
A.
van Cruyningen<br />
<br />
Geachte heer van Cruyningen, <br />
<br />
Waar u de gelegenheid had om mij uit te
leggen wat de afbeeldingen precies voorstellen koos u ervoor, zoals alle tuig op
internet, mijn persoon aan te vallen. Waarom zegt u niet gewoon wat deze
afbeeldingen betekenen en dat 'witte' mensen kennelijk ook pikzwart kunnen zijn.
De witte Nederlanders aanbidden een zwarte familie. Om het grover te zeggen:
jullie likken het gatwerk van Zwarten. De geschiedenis werd na 1848 vervalst, de
Oranjes waren net als alle koningen en hoge adel bruin en zwart. De hoge
burgerij was bruin en zwart maar identificeerde zich niet als Moor, dus niet als
Zwart. Daardoor lijken bruine en zwarte personen zich als witten te
identificeren, want men koos de witten om als meerderheid het Ancien Regime ten
val te kunnen brengen.<br />
<br />
Inderdaad moet de geschiedenis herschreven worden.
Het valt op dat de schrijvers van de Verlichting nare dingen zeggen over
Zwarten, maar waar zwarten in de 18e eeuw geen bedreiging vormden voor Europa,
moet men begrijpen dat ze het over de adel hadden die zich als Zwart en
superieur zag. Gebruikmakend van het symbool van de Moor, voor blauw
bloed.<br />
Holocausten is wat Nederlanders als u als onderdeel zien van wat zij
onder beschaving verstaan. Het verhaal van de WWII door Nederland verteld is een
leugen, want ze waren al vóór de bezetting bezig met anti-joodse maatregelen en
na de oorlog gingen ze door met anti-joodse maatregelen. Als lezer van het
Gereformeerd Dagblad bent u op de hoogte van de aanstaande Holocaust tegen
moslims en alle allochtonen, waaronder ondergetekende Surinamer. Wanneer het is
gebeurd zal u zeggen: wij hebben het niet geweten, wij deden gewoon ons werk. Ik
heb u heden geïnformeerd van een nieuwe bron van informatie en als integere
wetenschapper zult u daar iets van moeten maken. De verwachting is dat u mijn
onderzoek nooit ergens ter sprake zal brengen.</div>
<div class="intelliTxt KonaBody">
</div>
<div class="intelliTxt KonaBody">
Egmond Codfried<br />
<br />
Geachte heer Egmond Codfried<br />
<br />
Dank
voor uw bericht. Ik zou de discussie wat ons betreft willen sluiten met de
opmerking: wie doet hier nu eigenlijk aan revisionisme? Als u gelijk zou hebben,
dient de gehele Europese, zo niet de wereldgeschiedenis volledig te worden
herschreven. Nogmaals: ik sta open voor alle gefundeerde bevindingen, en zou de
vondst van bijzondere afkomst of connecties juist erg interessant vinden, maar
ik heb eerlijk gezegd weinig geduld met grootscheepse complottheorieën, van
welke kant ze ook komen. Ik hoop van harte dat u het mis heeft met betrekking
tot het organiseren van ‘een Holocaust’. Zo u onverhoopt gelijk mocht hebben,
zult u mij in het bestrijden van degenen die dat zouden willen aan uw zijde
vinden, want ik versta onder beschaving toch echt iets anders dan u lijkt te
suggereren. <br />
Graag wens ik u alle goeds toe.<br />
<br />
A. van Cruyningen<br />
<br />
<br />
Geachte heer van Cruyningen<br />
<br />
Bedankt voor uw reactie. Het is een wonder, want uw
conclusies over mijn onderzoek zijn dezelfde als welke ik aan de uwe verbind. U
verspreidt een revisionistische geschiedenis waar er geen plaats is voor
Koninklijke figuren met hun bruine en zwarte uiterlijk. Er heerst een ziekelijke
haat tegen zwarten omdat ze de witten ooit met harde hand hebben overheerst, en
als schoenleder behandeld. Als deze zwarte gezichten in feite witte mensen zijn,
waarom drukt u ze dan niet af in uw boek? En tevens is Nederland weer een
Holocaust aan het organiseren tegen de allochtonen want dat is deel van wat zij
onder beschaving verstaat: vermoorden van mensen en dan met een vreemd verhaal
te komen. Ik hoop op tijd weg te komen. Maar nogmaals dank voor uw
reactie.</div>
<div class="intelliTxt KonaBody">
</div>
<div class="intelliTxt KonaBody">
Egmond Codfried<br />
<br />
<br />
<br />
Geachte heer Codfried,<br />
<br />
Graag zeg ik u dank
voor de toezending van enkele portretten van Oranjes, waarvan de meeste mij
overigens reeds lang bekend waren. Naar aanleiding van die toezending en het
bericht over het Blue Blood is Black Blood Museum dat u mij hebt doen toekomen,
heb ik geprobeerd mij via het internet wat meer in de materie te verdiepen.
<br />
Ik wil niet uitsluiten dat u hier en daar bijzondere vondsten heeft gedaan
of nog zult doen, en exotische connecties heeft gevonden of nog zult vinden; van
gefundeerde bevindingen zal ik gaarne via de reguliere wetenschappelijke kanalen
kennisnemen. Een en ander lijkt echter ingebed in een alomvattende en - zacht
uitgedrukt- onaannemelijke theorie die mij in verschillende opzichten tegen de
borst stuit. U lijkt zich hierin zo te hebben vastgebeten dat alles wat die
theorie weerlegt wordt genegeerd en aan de kleinste zaken die die theorie zouden
kunnen ondersteunen buitensporige conclusies worden verbonden. Dat alles
vertoont pseudowetenschappelijke trekken en doet mijns inziens afbreuk aan
interessante gegevens en prikkelende vragen die er wel toe doen.<br />
>
<br />
> Met vriendelijke groet,<br />
> <br />
> A. C<br />
>
</div>
<div class="intelliTxt KonaBody">
-----Oorspronkelijk bericht-----<br />
Van: Egmond Codfried <br />
Verzonden:
maandag 30 juli 2012 16:18<br />
<br />
Geachte hooggeboren heer A. van Cruyningen<br />
<br />
Ik zoek uw postadres om u
een paar prachtige prints van kennelijk bij u onbekende portretten van de
Oranjes te sturen. Wie weet dat u als wetenschapper baat zult hebben bij een
nieuwe bron over het ware uiterlijk van de Oranjes. Dat miste ik in uw recente
boek, heruitgave, welke ik met veel plezier aan het lezen ben.<br />
<br />
Veel
plezier</div>
<div class="intelliTxt KonaBody">
Egmond Codfried</div>
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Egmond Codfriedhttp://www.blogger.com/profile/10597005835134961469noreply@blogger.com0tag:blogger.com,1999:blog-1401624891557825179.post-27688613687373023992013-08-19T08:28:00.000-07:002013-08-23T08:05:10.821-07:00<h2 style="text-align: center;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">BLACK AFRICANS IN RENAISSANCE EUROPE</span></h2>
<h2 style="text-align: center;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"></span> </h2>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKKoAhKXre2sNJOa1zQJg0-jSZL7owaEzANG9U3P1zXsYd3ZyOORqny6bFByea_X_8Fdc937H6jsOyRymFEhjp_LIPXV_6p0obhx3q4QaVMMCc23_NO9PbrxG2BpBjkMZQn7bWqeaxuAFw/s1600/bl.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKKoAhKXre2sNJOa1zQJg0-jSZL7owaEzANG9U3P1zXsYd3ZyOORqny6bFByea_X_8Fdc937H6jsOyRymFEhjp_LIPXV_6p0obhx3q4QaVMMCc23_NO9PbrxG2BpBjkMZQn7bWqeaxuAFw/s320/bl.jpg" width="250" /></a></div>
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Review: The Bookcover</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoTHZQ1ARqJed-5z1mi2rWP80Zm29Gagg-w2Tzq2Ch3TCIcUcgVnVeDicbduDDy8KaWfL7GsK9LLksxyOyjKoYEWIAKQPSpOnZ_6sZNZDeCo8huqQcmv1YPrGYJXR-WIjJcgLSymTsdakk/s1600/bl1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoTHZQ1ARqJed-5z1mi2rWP80Zm29Gagg-w2Tzq2Ch3TCIcUcgVnVeDicbduDDy8KaWfL7GsK9LLksxyOyjKoYEWIAKQPSpOnZ_6sZNZDeCo8huqQcmv1YPrGYJXR-WIjJcgLSymTsdakk/s1600/bl1.jpg" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-q3WWf4lOHybE-Shp4jf7M1xP9i6d8DjIA8qHwPhKN31Psysx3DG-CKbwgGUYy3U6DwbCBEfCU5MRqP2uTzZoTwM2jr-aS7QGirGG46q-spxfVu9iTwtIYkoQtGwOQXP-BB38thmhR0NN/s1600/bl2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-q3WWf4lOHybE-Shp4jf7M1xP9i6d8DjIA8qHwPhKN31Psysx3DG-CKbwgGUYy3U6DwbCBEfCU5MRqP2uTzZoTwM2jr-aS7QGirGG46q-spxfVu9iTwtIYkoQtGwOQXP-BB38thmhR0NN/s1600/bl2.jpg" /></a></div>
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Alessandro de Medici</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIhlKn_gIxoa8lHSBRvyZIke6IMJsnf60uiz3myB_se87lb5Quhl49KZrbqZjG9suveRCl_HrXqC7dahLPRkg33gIdLTWfvbZsKo1x4AP-tBaNIuAszolku6Bf4iIrE4givYROSqDI4jZg/s1600/bl3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIhlKn_gIxoa8lHSBRvyZIke6IMJsnf60uiz3myB_se87lb5Quhl49KZrbqZjG9suveRCl_HrXqC7dahLPRkg33gIdLTWfvbZsKo1x4AP-tBaNIuAszolku6Bf4iIrE4givYROSqDI4jZg/s320/bl3.jpg" width="258" /></a></div>
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Pope Clement VII, his father?</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWvx0_ZqCcftDh4fJJqYpuFEtfpJzJiCSs7XsgJO_jxgUohIg39FRixTuXmIhyphenhyphenzWb-dQg2kZeTV7hTvSYQMJt6m4PWrtfMkRwC0e71UpnVv4xOhJHE4SYLEuwqPGlm4fbjhslwjijAM3Fj/s1600/bl4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWvx0_ZqCcftDh4fJJqYpuFEtfpJzJiCSs7XsgJO_jxgUohIg39FRixTuXmIhyphenhyphenzWb-dQg2kZeTV7hTvSYQMJt6m4PWrtfMkRwC0e71UpnVv4xOhJHE4SYLEuwqPGlm4fbjhslwjijAM3Fj/s320/bl4.jpg" width="258" /></a></div>
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Maria Salviati and a Black girl, symbolising blackness. Whitened faces</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDuKqUpT4y4KhrRrLwlZve1M-AaVsMurGoLoLDwrhcWDHgL_Nes3NvW2tjN91EFhwl4S55CDtLzuNDpSKH3wY6HEhzCVpHtVZJU3jUZUmxtkUEArXPm84aFIKeDaZ0rsHwhF-Op5kPN6ch/s1600/bl5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDuKqUpT4y4KhrRrLwlZve1M-AaVsMurGoLoLDwrhcWDHgL_Nes3NvW2tjN91EFhwl4S55CDtLzuNDpSKH3wY6HEhzCVpHtVZJU3jUZUmxtkUEArXPm84aFIKeDaZ0rsHwhF-Op5kPN6ch/s320/bl5.jpg" width="256" /></a></div>
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Lorenzo I, also named as Alesandro's possible father.</div>
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If one takes a look at all the other De Medici's one finds many, more or less, classical African types.</div>
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Dido Elisabeth Langsay, Jane Austen based Fanny Price from Mansfield Park on her life.</div>
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JF van der Werff, a Suriname elite member,</div>
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showing strong classical african facial traits.</div>
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Whitened portrait.</div>
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Jamnitzer Moorhead, drinking vessel, from Moritzburg</div>
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King Balthasar</div>
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Djimoun Hounsou, the rare, ultra black skinned Black.<br />
The Blacks discussed in this book are still around. We can still study them.<br />
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Manhead, Venice, Renaissance</div>
<h2 style="text-align: center;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p></o:p></span> </h2>
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<o:p> </o:p></div>
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Review;<o:p></o:p></span><br />
<br />
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">BLACK
AFRICANS IN RENAISSANCE EUROPE<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Dear
T.F.Earle and KJP Lowe,<o:p></o:p></span></div>
<br />
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">When your
ancestors, the European whites, the third estate, who were emancipated serfs
and villains gained universal suffrage during the Final Revolutions in 1848,
they started a process to completely eradicate their former brown and black
noble and bourgeoisie masters from history. You are attempting to finish the
job, but you will not succeed.<o:p></o:p></span><br />
<br />
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">This
process is still going strong and your scholarly book is extremely racist in
its purpose to show that the only Blacks in Europe were slaves, or second-generation
slaves. Even as freedmen, they were kept poor and segregated, and were hated by
the whites, you claim. As the Europeans in this study can only be whites in
your minds, even the European soil and the air seems hostile to Blacks. They
are invariably referred to as just ‘black Africans,’ and not Guineans,
Congolese, Ghanaians as this study addresses also Tartars, Circassians, Greeks
and Indians who were also enslaved in Renaissance Europe. Blacks are identified
by their colour alone, not geography like supposedly other white slaves, which
comes off as superficial:. While in fact you inform us it was well known and
recorded, where from Africa they came from. In Suriname, it was possible to
tell their nation till 1848, because they were sought out for specific skills, employed
in different professions and were also recognizable from their body markings
and ornaments.<span style="mso-spacerun: yes;"> </span>It seemed that for the
makers of this book there was a need to denigrate Blacks and turn them into one
amorphous black mass, to make them less human, and incapable of living in an
organized state. The hatred against these Black Africans was according to this
book mostly their colour, but the colour was also linked to bad behaviour,
sexual licentiousness, violence, laziness etc. The few Africans who managed to
learn to write and could sign with their own names are presented in this book
as miracles, the same like we would look and be astonished at an ape who can
write his own name. Their speak is reduced to gibberish, and they seem unable
to learn an European language. While English, French and Spanish today is
widely spoken by Africans, Caribbean’s and Asians. This book is to stamp out
all ideas that the Renaissance was brought on by European Blacks. It’s like the
misogynistic 19<sup>th</sup> century books, like the one by Dr. White who
claims that white women are actually Blacks for having large areas of brown
skin and have a pregnancy mask, and turn brown in the face. Or those by </span><span lang="EN-US" style="mso-ansi-language: EN-US;">Otto Weininger, Arthur Schopenhauer,
Friedrich Nietzsche, Kant, and Hegel recognized as anti-women. </span><span lang="EN-GB" style="mso-ansi-language: EN-GB;">These ‘scientific’ studies proofed
by sound use of the ‘scientific method ‘ that women were inherently,
inescapable inferior to men. So you have proofed blacks were not in European in
a position of power, did not contribute to the civilization, and were
universally hated and scorned. As Black today should be scorned by all whites.<o:p></o:p></span><br />
<br />
<br />
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<o:p> </o:p><span lang="EN-GB" style="mso-ansi-language: EN-GB;">In my own
research I have found slavery of Blacks just the last 500 years of the Black
civilization that already lasts 10.000 years. Blacks should better discuss the
pyramids if they want to derive some benefit or inspiration from the toils of
their ancestors. Slavery just demoralizes and saddens Blacks, and is used by whites
to intimidate Blacks in telling them they are slaves, they were always slaves
and will always be slaves. That’s also the intention of this book, like all
books by whites about Blacks. Black History Museums, except my own Suriname
Blue Blood Is Black Blood Museum at The Hague, are always about the slavery era
and about descendents of slaves, the only group that according to whites can
legitimately be identified as Blacks. These Museums are funded by the states
and by whites who want to keep Blacks indoctrinated <span style="mso-spacerun: yes;"> </span>that they are slaves. The exploits and
accomplishments of these Blacks are always presented in the light of slavery,
also their failings and problems. The solution offered is to wait till whites
will give them equality, to become like whites. And the Black leaders and
scientists, which are acceptable to whites, the black fat cats, always argue
from a position of victimhood. And the deliverance of Blacks will only come
when they get reparations. But they should not be involved in activism of any
sort. Blacks in my view have themselves to thank for any wrong they suffered as
all of history is about Blacks. They are sold out, by their so-called leaders
and intellectuals who are on the take. Slavery and reparations should be about
back pay, like I have worked for you for 350 years and you never paid me, but
made millions that your descendants now still enjoy. How much will we agree
upon to be a fair back pay to give back to communities? Blacks should not
change or accept any condition to get this money back.<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p></o:p></span><br /></div>
<br />
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">All history
is about Blacks as slavery of Africans in Europe and the Americas was invented
while the brown and black complexioned Europeans ruled (1100-1848). The
colonial slave masters were members of the European bourgeoisie and were brown
or black complexioned. Often fairer in looks then their slaves, but also as
black of skin as some of their slaves. They looked down on Africans not because
of looks, but as heathens and uncivilized peoples. Jane Austen (1775-1817), a
member of the brown and black complexioned gentry wrote about slavery and was herself
described as ‘a brunette of complexion.’ In ‘Mansfield Park’ Fanny Price is
based on real life Dido Elizabeth Longsay, who is portrayed by A.Ramsay as a
dark mulatto type. Dido is the<span style="mso-spacerun: yes;"> </span>favourite
niece of Lord Mansfield, who lived with his family. She was the child of his
cousin and a former enslaved woman. Fanny Price is a favourite house slave in
the noble Bertram household of her mother’s sister: yet as a half-black she has
a lower status. When visitors call, she cannot eat with the family. This is how
in reality the house slaves were often children, brothers, sisters and kin of
the masters. This accounts for their preferential status, and after manumission
could inherit and marry an European. Austen shows how Blacks misuse their own
brethren and teach others how to mistreat and look down on Blacks, and offers
this as a cause for the downfall of Blacks by their own follies.<o:p></o:p></span></div>
<br />
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Interesting
is the front cover showing African Man by Jan Mostaert, considered by me a true
portrait of Emperor Charles V Hapsburg. By all accounts, he had thick lips or
at least a protruding chin, that we call sub nasal prognathism, which is
regarded as crucial to identify a person as Black. His mummy was photographed
in the 19<sup>th</sup> century, even turned in a postcard, was described as
‘black with massive prognathism.’ Comparably, Le Notre described Louis XIV mummy
in the 18th century as ‘well preserved and black as ink.’ His cousin Charles II
Stuart, was called The Black Boy, and described as ‘a tall black man’ in a
wanted poster. A miniature of princess Dorothea of Denmark, wife of the Palatine
Elector shows a Black woman. There should be personal descriptions of the
Emperor, but these are never mentioned. Even when they are discussing the
Mostaert portrait in the Rijksmuseum Bulletin, deciding the image has all the
features of a Habsburg gentleman: except in complexion. But they put in front
that he cannot be Charles V, just a bodyguard who wears the Habsburg colours
and a golden medal of the Black Madonna of Halle, making him a distinguished
rather then casual, and a rich visitor of the shrine.<o:p></o:p></span><br />
<br />
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">[Lorenzo I,
also cited as father of Alessandro. Maria Salviati. This portrait for a long
time did not show the little Black girls as she symbolised the blackness of the
Medici family. So she was covered and only emerged during a restoration. They wanted
to make her into Cosimo I, to sell the painting at a higher price, but it’s a girl.]<o:p></o:p></span></div>
<br />
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">The books
offer interesting details of slave life’s, slave trade, and the arrival of the
first Africans in 1444. How some owners treated their slaves well while others
did not. Most illuminating was an African foundation that aided in the
redemption of slaves who wanted to be free. In Suriname historiography there
was a 19<sup>th</sup> century Muslim community, with a mosque near New
Amsterdam in the Commewijne District, dedicated to buying Muslims slaves free.
From the Maria Suzanne Du Plessis research emerges an accusation that she had
forcibly relocated her manumitted slave to an Caribbean island. She might have
been the mother of her nephew or nieces, as it is stated that Du Plessis kept
the children. This book hardly condemns slavery and the hardship suffered by
slaves, as if slavery is really something due to Blacks. It also seems to teach
whites to be harsh on Blacks no matter what. Whites in general do not seem to
have a strong notion of freedom, because after emancipation their white leaders
kept them un-free and ignorant through obscurantism. In their thinking, they
remain close to their serf ancestors. Even their sassing and posturing against
Black individuals today, owes more to a powerless, poor white serfs
remonstrating with his Black noble masters. It is this 165 year old event, of
whites gaining their long fought equality and freedom, that is kept alive by
whites as racism, while they should move on, like Blacks have moved on.</span><br />
<br />
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<o:p> </o:p></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Exceptional
is the chapter about Alessandro de Medici and the Moorhead drinking vessel by Jamnitzer.
There is a longish list of personal description of Alessandro, and they are
compared to a few depictions that confirm he was the face type we call Black
today. Its however automatically assumed he got his looks from his mother, a
servant woman from peasant stock, Simonette from a village Colle Vechio. Many
portraits of the Medici family show classical African facial traits, as the
family was Black. Non of his enemies attacked his blackness, but only his low
birth from a servant mother. This is remarked but not worked upon, as to find
out why? Mainly because they were brown and black themselves, while the elite
self-identified with heraldic images of Moors, as Black. Simonette was married,
and asked him by letter for money, meaning he was not close to his mother and
might have disavowed her, and his half-siblings. I was surprised about these
details that I had not encountered before. It was Charles V who ennobled De
Medici and made him Duke of Florence. After which he was married off to a
natural daughter of Charles V, Marguerite of Parma. She was also a daughter of
another servant, in Bruges. Yet her half-brother Philips II made her governor
of the Netherlands. She also had her bastardness thrown at her. Some 19<sup>th</sup>
century historians disputed his blackness, one suggested he just ‘looked’
Black, as his mother was ‘Eastern.’ Blackness is often presented as a ‘strain’
an infection, a disease on whites who are presented as the norm, and the
beginning of everything. As if the whites never overcame the shock of being
regarded immigrants in Europe by the Black Europeans, already among the Greek
Civilization, and want to proof their Europeanness by writing and painting the
Blacks out of history.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">The many
splendid, opulent and priceless images of Blacks, and the use of splendidly
turned out Black musicians or courtiers during royal processions is never
questioned as antithetical to their supposedly low, foreign status, their
supposed ugliness and who are hated by the Europeans. Why would a royal person
antagonise the majority of his subjects by showing such outright preference for
Blacks? Why would they employ them among white servants or give them leading
positions in their households? Why display golden Black imagery like the
Moritzburg Cup? Why call a place Moritzburg? Why use so many Moors as heraldic
Symbols for families, cities and nations? If they are so low and animalistic,
why such an obsession with blackness among the supposedly white European
nobility? Why give them leading rolls in plays set among the royalty?<o:p></o:p></span></div>
<br />
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">After study
I found that the heraldic Moors symbolised blue blood, and Black Supremacy.
These symbols are not real persons, but are regularly, without any base,
identified as slaves or servants. The European elite who brought the
Renaissance were the first Europeans who came from Africa and remained brown
and black complexioned because of intermarriage. They were called blue men in
the medieval period (500-1500), and some of their descendants elevated
themselves into a nobility called Blue Bloods. They saw themselves as true
Europeans, from the soil, while whites came from Central Asia, and became
their serfs. They even traded in the skin of these whites to line church door,
bind books, make clothing and shoes for the elite. The non-noble Blacks became
the bourgeoisie and were also looked down upon. This why the bourgeoisie
philosophers started the Enlightenment and conspired to make the French
Revolution to topple the nobility, together with the white majority</span></div>
<br />
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">The launch
of the Modern nobility in 1100-1200 coincided with the introduction of King
Balthasar and Black Madonna’s, and Black saints like St. Maurice. They were to
present the Black identified king as a good Christian. As Christianity was
forced by this elite on the Europeans, who had kept their native religions well
after the medieval period. The French Revolution caused many of these symbols
of Black superiority to be destroyed, but many were recreated, and are still
visible in many great European churches. Like how Isis was still worshipped
during the Christian Era, the Black Madonna’s are still venerated, while the
Black noble elite has disappeared. The only way to cope is to ignore these
symbols, or assert they are blackened by candle soot. But only on the hands and
the face of these statues, not on the body etc. This is how blackness is
explained away, by putting the idea in front that there were no Blacks. And to
identify a historical person as Black, it must be shown he had a Black
great-grandfather. How does the King of Britain, Charles II Stuart, can have a
slave ancestor to cause him to be so Black? if I read well all of Europe had
only three Blacks of merit: Alessandro de Medici, Alexander Pushkin and
Alexander Dumas. But then only half-blacks with as all the merit was only caused
by their white DNA, that managed to over shadow the base, evil, stupid,
animalistic African DNA. Even in our times a biographer of Pushkin tries to
equate bad behaviour among the Hannibals as caused by their race. While there
is no proof that his noble contemporaries shunned him, or condemned him because
of his race. There must have been more like him, and he was seen as a noble
man. From my study of Jane Austen (1775-1 817) I understand that the elite
numbered 2-3%, that they were light brown, brown, very brown and black, and the
10% with classical African facial traits were regarded as ‘distinguished,’
‘pure of blood,’ and ‘proof of noble blood.’<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Othello is
the most famous Black fictional character and misunderstood. The people of
Venice could not have been racist if they would make a Moor their highest
military leader. The objections against Othello are those of the bourgeoisie
against the nobility. Othello marrying Desdemona is how the nobility married
Bourgeois heiresses from trade, as nobles were forbidden to trade. Emma
Woodhouse in Emma (1816), the Queen of Highbury wants to have Mr. Elton (‘Mr.
Elton, black, spruce, and smiling’) marry her white friend Miss Harriet Smith.
Displays Austen disdain for mix-marriages, as a folly by which Blacks lost their
power. by diluting their pure blood with whites. The supposedly racist jokes
are just mild stabbings at the nobility, but not against Black superiority.
Shakespeare was a member of brown and black complexion of the gentry, and the
many Blacks in his plays are heraldic Moors, who are symbols and persons, like
Mr. Elton. The historical role of the nobility, the aspects of nobilitas and
superiority, and its weaknesses and failings are argued.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p></o:p></span> </div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Black is a
face type, and colour is just skin deep, yet this superficial trait is used to
distinguish Blacks from others, and to define them as hardly humans. There must
be a reason for this obsessive, organized hatred, which is reflected in books
like this, expositions and articles. To show Blacks as less, as unimportant, as
permanent slaves: as if slavery is stamped on their DNA. The whites who were
treated as shoe leather for 800 years or longer by these brown and black
complexioned Europeans have an axe to grind.</span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">But we
still have a small window of opportunity to over throw their purpose to
completely revise history and completely exercise Blacks from history. While
all of history is about Blacks, with whites in the supporting roll of
barbarians, plebeians, serfs, villains, the ordinary people, the greys (het grauw),
the pinks, rapaille and canaille. The Early Modern nobility styled itself on
the Greek nobility by claiming seniority to rule over late coming whites, as
the true Europeans ‘of the soil.’ Subsequently the Greek and the Roman
Civilizations were Black civilizations with all their rulers brown or black of
complexion. Alexander the Great was described as ‘swarthy’, which means (zwart,
</span><span lang="DE" style="mso-ansi-language: DE;">schwartze</span><span lang="EN-GB" style="mso-ansi-language: EN-GB;">) black in colour, and depicted by
Apelles as black of complexion. The nobility knew the Greek civilization was Black.
this civilization was whitened along with the whitening of European history in
1848.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">They
started with over painting the portraits in 1848 claiming the paint had
darkened; yet at least confirming that the paintings showed dark people. Next
they ignored personal description in fact or fiction, printing whitened
portraits of the same person who in the same book is described as ‘more brown
then white’ (William I of Orange 91533-1584)). In this book as well, as
Alessandro de Medici is described as dark or very brown in colour, yet they
still show the (half) whitened portraits, that still show the classical African
facial traits. A strange internalised obscurantism to contradict oneself in
this regard of images. The description does not match the image, and it does
not lead to questions as its already pre-decided that a Black could never be a
ruler, or a European person of merit. So this otherwise useful method, as it is
to me as the blue blood theory is firmly based on personal descriptions: is
used to their revisionist convenience. They not even understand that fair or
even ‘blank’ does not necessarily mean white. The context shows that a person
could not have been white, if married to a noble or seen as part of the elite.
The social distance between elite and serf was too great. Africans came in all
complexions, so some nobles were lighter in colour, but did not identify as
whites, and were not looked on as whites, as those would not be tolerated among
society. This is the truth they want to bury with this racist book.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Egmond
Codfried<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Curator
Suriname Blue Blood Is Black Blood Museum<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">The Hague.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">19 Augustus
2013.</span><br />
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"></span><br />
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">=====================================</span><br />
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"></span><br />
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><a data-ved="0CAUQjRw" href="http://tcdh.wordpress.com/2011/08/16/blacks-in-antiquity/" id="irc_mil" style="border: 0px currentColor;"><img height="475" id="irc_mi" src="http://tcdh.files.wordpress.com/2011/08/blacks.jpg" style="margin-top: 74px;" width="312" /></a></span><br />
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">
</span><br />
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"></span><br />
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: Calibri;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">I'm also
rereading Frank Snowden's Blacks in Antiquity, (1970) and he starts his book by
saying that the Blacks he found in the antique world were immigrants in Europe.
And he is discussing problems of Blacks in a white society. With all his knowledge
and sources, and resources, he could not see that the brown and black
complexioned Greeks were the elite. They were in looks between the white
Scythians and the Blacks, the Ethiops or Nubians. Yet the classical African
type, prevailed as symbol. as standard against the white barbarians. He was under pain to adapt to what the whites have done since
1848 when they were emancipated, is to turn all civilizations in Europe white.
The nobles from the 18th century still knew Greece and Rome were ruled by
people who were brown and black of sin, like them, and they all believed they
came from Africa. So they used the classical African image to establish their
identity, and superiority. If the deities are Black, the elite must be Black.</span><span lang="EN-US" style="mso-ansi-language: EN-US;"><o:p></o:p></span></span></div>
</span><br />
<br />
=========================================================</div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Black
Africans In Renaissance Europe, ed. K. J. P. Lowe, T. F. Earle<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;">Cambridge
University Press, 2010, 436 p. <o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;">“This
highly original book opens up the much neglected area of the black African
presence in Western Europe during the Renaissance. Covering history,
literature, art history and anthropology, it investigates a whole range of
black African experience and representation across Renaissance Europe, from
various types of slavery to black musicians and dancers, from real and symbolic
Africans at court to the view of the Catholic Church, and from writers of
African descent to black African 'criminality'. The main purpose of the
collection is to show the variety and complexity of black African life in
fifteenth- and sixteenth-century Europe, and how it was affected by firmly held
preconceptions relating to the African continent and its inhabitants. Of
enormous importance for both European and American history, this book mixes
empirical material and theoretical approaches, and addresses such issues as
stereotypes, changing black African identity, and cultural representation in
art and literature.”<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><a href="http://www.bol.com/nl/p/black-africans-in-renaissance-europe/1001004011079595/"><span style="color: blue;">http://www.bol.com/nl/p/black-africans-in-renaissance-europe/1001004011079595/</span></a><o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;">“Dazzling
Scholarship, September 4, 2010 <o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;">By D. G.
Wright:<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><o:p> </o:p></span><span lang="EN-US" style="mso-ansi-language: EN-US;">This review
is from: Black Africans in Renaissance Europe (Hardcover) <o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;">The
collection of essays in Black Africans in Renaissance Europe epitomizes the
best in scholarship and research. Sometimes heartbreaking, always fascinating,
the writers discuss various aspects of the effects of slavery on Africans in
Europe and on Europeans. The best of the essays -- for my interest -- are Paul
Kaplan's "Isabella d'Este and black African women"; Debra
Blumenthal's "'la Casa dels Negres': black African solidarity in late
medieval Valencia"; and Nelson Minnich's "The Catholic Church and the
pastoral care of black Africans in Renaissance Italy."</span><br />
<span lang="EN-US" style="mso-ansi-language: EN-US;"></span><br />
<span lang="EN-US" style="mso-ansi-language: EN-US;">-================================================================<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;">Reviewer:
Professor Francisco Bethencourt, King's College London, review of Black
Africans in Renaissance Europe, (review no. 619), URL: http://www.history.ac.uk/reviews/review/619<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><o:p> </o:p></span><span lang="EN-US" style="mso-ansi-language: EN-US;">´This book
might come as a surprise for non-specialists, since black Africans are
identified with slave trade to the Americas, while the Renaissance is regarded
as a purely European phenomenon, centred on a largely homogeneous ethnicity.
Neither of these assertions is true, and this excellent book helps to
deconstruct such historical stereotypes. Europe received black Africans
regularly and in significant numbers from the mid-fifteenth century onwards.
The Mediterranean was a cross-cultural and inter-ethnic space even before
Classical Greece. The Renaissance reflected not only the rediscovery of
classical culture, but also the influx of techniques and ideas brought by the
Arabs. Intercontinental navigation revealed simultaneous processes of cultural
renovation, which helped to reshape Europe.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="mso-spacerun: yes;"> </span></span><span lang="EN-US" style="mso-ansi-language: EN-US;">At the
outset of the volume, Kate Lowe defines the editors’ key question: how were the
main stereotypes concerning black people established in this period? She
provides several examples relating to the main set of prejudices: the African
was generally identified as a naked person who would mutilate his/her face and
body with scarification, piercings, and tattoos; he/she would be considered as
carefree and characterized by immoderate laughter, unaware of his/her
condition, lazy and sexually promiscuous, physically strong, a good musician or
dancer. Lowe recognizes the existence of noble or ennobled black men in
European courts, but she stresses the role of black people as a necessary
counter-image in the construction of European whiteness and ‘civilization’ (a
notion coined in the eighteenth century). This is a necessary starting point,
although some of the chapters develop a more nuanced vision of race relations in
this period.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="mso-spacerun: yes;"> </span></span><span lang="EN-US" style="mso-ansi-language: EN-US;">Anne Marie
Jordan, for instance, has a fine chapter on slaves in the Lisbon court of Queen
Catherine of Austria, where mainly women and children of different ethnic
origins were used as musicians, cooks, pastry chefs, housekeepers, pages, or
servants in royal apothecaries, kitchens, gardens, and stables. Jordan points
out how white Moorish slaves were favoured because of skin colour prejudices,
but black slaves were considered trustworthy for religious reasons. The black
slaves were a sign of social prestige and distinction in a cosmopolitan court:
this feature explains why Catherine spent so much money clothing and offering
them as exotic gifts to her favourite ladies and relatives in other European
courts. The representation of small black slaves in the portraits of Iberian
princesses, as in the painting of Juana de Austria by Cristóvão de Morais,
reinforced their image as symbols of empire building.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="mso-spacerun: yes;"> </span></span><span lang="EN-US" style="mso-ansi-language: EN-US;">Jorge
Fonseca presents the results of his research on sixteenth-century Southern
Portugal, where he estimates a total of six to seven per cent of blacks in the
population, mainly in urban areas, in contrast with the Northern region, where
blacks were scarce. His analysis of the perceptions of black people by Nicholas
Cleynaerts, a Flemish scholar who taught in Louvain, Paris, and Salamanca,
spending several years in Portugal as tutor of infant Henry (the future
cardinal and General Inquisitor), is less convincing. The scholar is presented
as an ‘exotic visitor’, which is misplaced, since he belonged to the
international Renaissance elite who circulated between different European
countries. Cleynaerts bought young slaves and taught them as assistants. His
observation that they were like ‘monkeys’ (meaning capable of imitating but not
of creating) is considered by Fonseca as a sign of the contrast between two
societies, the Flemish and the Portuguese, the first unaware of black people,
the second used to them. It is disputable that Cleynaerts’ classification of
the young slaves as ‘monkeys’ was his own, and not influenced by the
Portuguese, but the implicit assumption that the Portuguese were less ‘racist’
than the Flemish is questionable.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="mso-spacerun: yes;"> </span></span><span lang="EN-US" style="mso-ansi-language: EN-US;">Didier
Lahon proposes an interesting analysis of the mixed confraternity of Nossa
Senhora do Rosário in Lisbon, which split into two branches of white and black
members. The conflict that existed between them for more than one century, and
the final victory of the white branch in 1646, is interpreted as a shift from a
relatively tolerant society, open to manumission (one of the privileges of the
confraternity) and to intervention against bad treatment of slaves, to a more
rigid and intolerant society in the seventeenth century. The implementation of
the obligatory baptism of slaves throughout the second half of the sixteenth
century is also reconstituted in detail. The analysis of the impact of the
notion of blood purity in Portugal is much less convincing, with a deficient
chronology and huge gaps, while comprehensive studies are ignored. The idea
that the Iberian Peninsula dealt with the presence of Moors, Jews, and New
Christians as an anomaly from 1350 onwards is simply wrong, as Maria José Ferro
Tavares and Maria Filomena Lopes de Barros have demonstrated.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="mso-spacerun: yes;"> </span></span><span lang="EN-US" style="mso-ansi-language: EN-US;">Thomas
Earle focuses his study on the work of Afonso Álvares, a mulatto poet and
playwright, cautiously alerting the reader to the lack of evidence to prove
that they were one and the same person. Álvares is one of the few mixed-race
intellectuals in Europe in the sixteenth century. He wrote satirical poems and
four plays based on saints’ lives, commissioned by the Augustinian canons of
São Vicente de Fora in Lisbon. Earle discusses the quality of the plays and
convincingly refuses the historical devaluation of the writer, who has been
seen as a minor disciple of Gil Vicente. A particularly interesting section
concerns the polemic in satirical redondilhas between Afonso Álvares and
another poet, António Ribeiro Chiado. Álvares accused Chiado of low birth and
immorality. Chiado insulted Álvares in racist terms, accusing him of being a
mulatto, son of a black woman, a slave freed by marriage. Álvares underlined
the nobility of his father—whose identity was never disclosed; it might have
been Dom Afonso de Portugal, bishop of Évora, in whose household Álvares was
educated. In his plays, Álvares reflects the dominant anti-Semitic mood. There
is sufficient material here for a deeper reflection on the racial prejudices of
the Portuguese Renaissance society and on the conflicting mechanisms of social
promotion among subaltern groups.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="mso-spacerun: yes;"> </span></span><span lang="EN-US" style="mso-ansi-language: EN-US;">Jeremy
Lawrence presents a very good overview of the Black Africans in Spanish
literature, identifying the main ideas: dehumanization of slaves as chattels,
defined by bestiality, nakedness, lascivious vulgarity, burlesque behaviour,
pidgin language. He focuses his study on the ‘habla de negros’ enlarging the
already significant bibliography on the subject (the crucial study by Paul
Teyssier on Gil Vicente could have been mentioned). The author selects less
known texts and provides two excellent critical editions of pliegos in the
appendix. The originality and subversive meaning of the poems is brought out
clearly in this chapter, since they staged strong black characters with
unconventional relations with white women. Baltasar Fra-Molinero is another
author who has extensively written on blacks in Spanish literature, and has
contributed to changing the field. He has shown how this marginal and neglected
topic played an important role in the sixteenth and seventeenth centuries. Here
he concentrates on Juan Latino, the only black Latinist, scholar, and writer in
the European Renaissance, who lived in Granada. He has previously pointed out
how Juan Latino reflected on the black condition and refused a social hierarchy
based on skin colour prejudices. Fra-Molinero analyses now the poem Austrias
Carmen, dedicated by Juan Latino to Juan de Austria after his victory over
Morisco insurrection in Granada, known as the War of the Alpujarras
(1568–1572). In the text, Latino searched to establish the dignity of all black
Africans, relating them to biblical Ethiopia and refusing the idea of natural
slavery. He imagines white people subordinated in Ethiopia (a reversed irony)
and exalts blackness in the final verses.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="mso-spacerun: yes;"> </span></span><span lang="EN-US" style="mso-ansi-language: EN-US;">Debra
Blumenthal addresses a very interesting issue: the role of a black African
confraternity in Valencia founded in 1472 by forty black freedmen that
collected alms and negotiated contracts of manumission on behalf of their
fellows in captivity. She knows the context of slave trade in Valencia well,
the variety of the black community in the town, and the functions of the
confraternity (‘casa dels negres’) as shelter, hospice, and hospital. She
analyses two cases of manumission, concerning Ursola and Johana, in which all
the financial, juridical, and social difficulties are analysed, as well as the
subsequent barriers to full integration.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="mso-spacerun: yes;"> </span></span><span lang="EN-US" style="mso-ansi-language: EN-US;">Aurelia
Marín Casares, who has written a very good book on slavery in Granada, presents
here part of her enquiry into free and freed black Africans in the region. She
has identified most of their occupations: men were stable workers, esparto
workers, smelters and casters in foundries, carriers and vendors of water or
firewood, bakers, butchers, hod carriers, builders, diggers, pavers; women were
housewives, farmers, embroiders, maids, taverns and inns employees,
sorceresses. The author details the confraternities created by blacks and
mulattos in Granada. The notion of blackness and the different types of black
people do not become clear in this article, however, since in many cases
Moriscos were considered black by the Christian population.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="mso-spacerun: yes;"> </span></span><span lang="EN-US" style="mso-ansi-language: EN-US;">The
‘Italian section’ is one of the most interesting in the book. Paul Kaplan
argues that Isabella d’Este and Andrea Mantegna created a new iconographic
type: the black attendant to a white European protagonist. In his opinion,
Judith’s servant was depicted as black for the first time by Mantegna in a
drawing from 1492. As the author points out, this idea of displaying black
servants to suggest the universal reach of imperial power had already been
coined by Frederick II. Kaplan stresses the diffusion of this idea among
European rulers, namely the Aragonese kings of Naples or the ruling houses of
Ferrara, Mantua, and Milan, in which black servants were used as human
accessories and depicted as such. The only problem in this stimulating chapter
is the uniform definition of ‘blackness’, while in several paintings (see for
example the Allegory of Virtue by Correggio) there is a gradation of skin
colour from black to brown.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="mso-spacerun: yes;"> </span></span><span lang="EN-US" style="mso-ansi-language: EN-US;">John
Brakett suggests that Alessandro de’ Medici, the first duke of Florence
(1529–1537) was of mixed race, an illegitimate son of Lorenzo de’ Medici, duke
of Nemours and ruler of Urbino (and a direct descendent of Lorenzo ‘il
Magnifico’ and Cosimo ‘il Vecchio’) and a peasant woman, a freed slave,
generally considered as a ‘Moor’, but now depicted as a Black African. The
argument is based not on new documents but on the analysis of the set of images
of Alessandro de’ Medici. The problem lies in the final conclusion: the author
considers that there was no intellectual racism in the sixteenth century, since
the duke was murdered under the accusation of being a tyrant, but his racial
status was not used in political debate or in denigration of his memory, which
proves the supremacy of the innate quality of princes. This is an open issue:
as the author mentions in his text, the duke was nicknamed ‘the Moor’ and ‘the
mule’ of the Medici in his lifetime, which suggests a more complicated picture.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;">Sergio
Tognetti concentrates on the trade in black African slaves in fifteenth-century
Florence. The percentage of East European slaves in North Italian cities was quite
important by the end of the fourteenth century, mainly in Genoa (nearly ten per
cent) due to the Genoese trading communities in the Black Sea, but the fall of
Contantinople in 1453 ended this commercial exchange. The slave trade in black
Africans spread throughout the fifteenth century, replacing the previous trade.
Networks also changed, from Arab merchants to Portuguese ones. This careful
research, based on the account books of the Cambini bank, shows the value of
slaves (proving also how whiter skin was more appreciated than darker skin) and
the overwhelming control of the market from Lisbon, confirming the role of
Bartolomeo Marchionni as the biggest slave trader in those days.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="mso-spacerun: yes;"> </span></span><span lang="EN-US" style="mso-ansi-language: EN-US;">The
pastoral care of black Africans in Renaissance Italy is the subject of Nelson
Minnich’s chapter. The zigzag policies of the Popes from Martin V to Paul III
is well documented, with successive bulls prohibiting the African slave trade
(1425) and black slavery (1462), then allowing the trade with captive people
(1455, 1456, 1493), and finally condemning the enslavement of native American
people (1537), while the citizens of Rome were authorized to hold slaves
(1548). The creation of black confraternities in Naples, Palermo, and Messina
was a result of the activity of different religious orders among slaves and
freedmen. The access of black people (slaves and freedmen) to the sacraments of
penance, communion, and marriage is well documented, while the ordination of
black priests was very rare—one Ethiopian and one Congolese bishop, suggested
by the Portuguese king in 1513, were exceptional cases.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="mso-spacerun: yes;"> </span></span><span lang="EN-US" style="mso-ansi-language: EN-US;">Anu
Korhonen addresses the crucial proverb ‘washing the Ethiopian white’ in
Renaissance England. It became a metaphor for everything considered useless,
irrational, and impossible. It was widespread in England, although the
relatively frequent literary references to black people in literature were
brief and stereotyped. Africans were explicitly related to apes, defined by
unruly sexuality, a lack of reason, violence, and ugliness (English is the only
language in which the same term, fair, is used for beauty and blondness).
Although Korhonen quotes an impressive range of sources, some of them from a
very early period, it would have been interesting to establish the turning
point of the process of construction and diffusion of the stereotype.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="mso-spacerun: yes;"> </span></span><span lang="EN-US" style="mso-ansi-language: EN-US;">Lorenz
Seelig studies the fascinating case of the ‘Moor’s Head’ produced circa 1600 by
the Nuremberg goldsmith Christoph Jamnitzer. It shows the features of a young
African with full lips, broad nose, and curled hair, with a headband chased
with eight ‘T’s. It as a heraldic work of art representing the armorial
bearings of the Florentine Pucci family, coupled with the coat of arms of the
Florentine Strozzi family. This splendid object, made of silver and rock
crystal, is also a drinking vessel: the upper part of the head can be taken
off, like a cover. Seelig relates the object to the German tradition of
drinking vessels, the double sense of the word kopf and the practice of
drinking from human skulls (relics of saints), which is documented until the
late-eighteenth century. He points out that, outside of the ecclesiastical
sphere, profane drinking vessels were considered signs of moral decadence such
as in the tradition of fools’ head cups. Cups, jugs, or oil lamps were
represented as black Africans (Seelig indicates an early example from the
workshop of Andrea Ricci, circa 1500, with deformed face, open mouth, and
protruding jaw to hold the wick). But on the other hand, Seelig points to the
statues or cameos of the black Venus and black Diana, or the dignified
sculptures of black prisoners and ambassadors (namely by Pietro Tacca, Pietro
Francavilla, Francesco Bordoni, Nicolas Cordier, Francesco Caporale), relating
to a notion of a rich Africa which contradicts the ideas of savagery and
poverty. The only slippery moment in the article comes when Seelig points out a
contradiction between the role of Roberto Pucci as commander of the order of
Santo Stefano, responsible for chasing African pirates, and the attractive
representation of the African head in his coat of arms. This is exactly the
origin of the fashionable heraldry of African heads in many medieval coats of
arms in Europe, following the crusades and the naval conflicts in
Mediterranean.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="mso-spacerun: yes;"> </span></span><span lang="EN-US" style="mso-ansi-language: EN-US;">Jean-Michel
Massing writes a fascinating article on the representation of lip-plated
Africans in Pierre Descelier’s world map of 1550. In his typical manner of
detective research (perhaps inspired by the paradigma indiziario founded by
Giovanni Morelli), Massing shows the crucial meaning of two figures of black
men with enlarged lips, placed in central Africa, sitting opposite each other,
probably bartering a gold nugget for a flowery plant. He reconstitutes the
first accounts of the enlarged lips found in different parts of Africa, namely
by Isidore of Seville, Rabanus Maurus, Vincent of Beauvis, and Alvise da Mosto.
He traces the original image of the bartering scene, a woodcut from a
Strasbourg edition of Ptolemy’s Geography published in 1522. He rightly interprets
the scene as an expression of the notion that ‘such people’ have no idea of the
true value of things. But it is at the beginning of the article, when Massing
defines the circle of cartographers in Dieppe and the powerful ship-owners like
Jean Ango, who created huge friezes in his house and his chapel representing
peoples of different continents, that the most interesting hypothesis of the
book is produced. Massing sustains that Northern Europeans recorded in their
drawings the features and material culture of other peoples of the world
(Africans, Indians, or Americans) with greater care than the southern
Europeans, namely the Italians, who were looking for aesthetic solutions and
became relatively blind to the rich variety of non-European people. This hypothesis
requires further enquiry, but it raises a very interesting issue, related to
the idea of the art of describing studied by Svetlana Alpers for a later
period, in seventeenth century Dutch Art.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="mso-spacerun: yes;"> </span></span><span lang="EN-US" style="mso-ansi-language: EN-US;">The only
problem of this book is the unbalanced space dedicated to Southern and Northern
Europe. We have thirteen chapters concerning Southern Europe (Portugal, Spain,
and Italy), and three about the rest of Europe (England, France, and Germany).
We already have a significant number of books and PhDs on black slaves and
freedmen in Portugal and Spain (Saunders, Tinhorão, Lahon, Fonseca, Stella,
Martín). We needed to have more information on Northern Europe to understand
how black Africans circulated and stereotypes in this area developed. This
would enable us to answer better the following questions: why was the theory of
races born in Northern Europe from the 1730s to the 1850s (Linnæus, Camper,
Cuvier, Gobineau)? What were the precedents of that theory, not only from a
colonial point of view, but also through an internal European dynamic of
contact with African people?<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="mso-spacerun: yes;"> </span></span><span lang="EN-US" style="mso-ansi-language: EN-US;">But we have
to be fair with the editors of the volume: the books published on black
Africans in Portugal and Spain have not been translated into English and some
of their main authors were invited to participate; the final result is a truly
excellent, well illustrated set of chapters, which raise new issues and provide
much information and analysis.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="mso-spacerun: yes;"> </span>December 2009 ... <o:p></o:p></span></div>
====================================================================<br />
<br />
<br />
<div class="MsoBodyText" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="font-weight: normal;">[African man
by Jan Mostaert][Dorothea of Denmark][Maurits van Saxen][Charles II
Stuart]]Leopold I Habsburg]<o:p></o:p></span></div>
<br />
<div class="MsoBodyText" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB"><o:p><strong> </strong></o:p></span></div>
<div style="text-align: center;">
concept: </div>
<div class="MsoBodyText" style="margin: 0cm 0cm 0pt; text-align: center;">
<span lang="EN-GB"><strong>The essence of a Renaissance Prince:<o:p></o:p></strong></span></div>
<div style="text-align: center;">
<strong></strong><br /></div>
<div class="MsoBodyText" style="margin: 0cm 0cm 0pt; text-align: center;">
<strong><span lang="EN-GB">WHY THE AFRICAN MAN BY JAN MOSTAERT IS
THE TRUE FACE OF EMPEROR CHARLES V HABSB</span><span lang="EN-GB" style="font-weight: normal; mso-bidi-font-weight: bold;">URG</span></strong><span lang="EN-GB"><o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">The
articles by both…and van de Bogaart in Bulettin Rijksmuseum jaargang 58 nummer,
page collide neatly with my ongoing research Blue Blood Is Black Blood
(1100-1848), after the ethnicity of the European regent, noble and royal
families. This article is a refutation, and follows the same methods to
determine this unique portrait. The failure of these researchers to recognize
this portrait as Charles V Habsburg (1500-1558) is due to the ongoing
revisionism of history to actively exclude Blacks from history. <o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
[Portretten van Charles V Habsburg]<o:p></o:p></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
[portretten van Alessandro de Medici.] [andere
medici’s][dochter van alessandro][Maria Salvati met klein meisje]<o:p></o:p></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<o:p> </o:p></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">The article
by Boogaard cites ‘Sex and Race’ by J.A. Rogers and talks about the ‘outing’ of
Alessandro de Medici as ‘Black’ by Rogers. Outing is usually used for gays and
suggest a person hiding his identity from the public. A Black cannot hide his
Blackness, which is also his colour of skin. Outing again suggest a Black does
not want to be known as Black. And how this ‘outing’ again surfaced in… and
in..2003, but ignored. Can a writer who has such an approach to Blacks give a
credible approach to this portrait? In 2005 this book had to be imported by the
Koninlijke Bibliotheek from the US as there was no copy in any Dutch collection.
Today I face an expense of euro 50 to buy ‘Ancient and Modern Britons’ by D. McRitchie,
who writes about Blacks in Briton, including the royal Stuart family. Again:
because there is no copy in any Dutch collection. My own books based on these
sources are classified by the KB as ‘race questions’ and not ‘Blacks’ as how
some of my sources are classified. This book by McRitchie is not digitilized in
google, and reviewed as ‘popular with afrocentrists,’ a euphemism for Black
researchers. Native Blacks in Europe, Blacks among the nobility is not an
accepted subject among white Dutch researchers and scientists. All Blacks are
foreign or recently Africa derived. Black writers are thus branded as different
and immediately as less, because they are pushing a thing that does not exists
and give irritation to whites. The slavery connection is the only way Blacks
can be included into European history, and all Blacks in Europe can only
be depicted as slaves, as socially low, degraded, uneducated, doing medial work,
making music, beggars and prostitutes. These articles in the Rijkmuseum Bulletin are an anomaly by even
considering African Man by Mostaert as a person, and as an European noble.
Their link to my research is claiming to have found beginnings of the forging
an European African identity. And its just this identity I have found and named Blue
Blood. Blackness is first an identity, next to a face type. Denying Blacks as
Europeans is a denial of an identity to Blacks, while their historical role
caused the present perception of Blacks worldwide. That’s why these articles use
the outcome as the beginning, by already claiming that Blacks were hated in
Europe. Should this hatred not have a cause, following the rule of cause and
effect, and should we not look for this cause?<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
[nicolaes van der meer][cornelia Vooght]<o:p></o:p></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<o:p> </o:p></div>
<br />
<h1 style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB"><span style="font-size: small;">Portrait restoration and revisionism<o:p></o:p></span></span></h1>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Blacks
today are demeaned, excluded, and threatened because the portraits of
historical Blacks are fraudulently whitened. Portraits are part of our national heritage and
icons of the national identity. The maintenance of public portrait collections
is based in elaborate restorations, as moments to cleanse, view, research,
determine, restore, and correct earlier artistic or mechanical, iconographical interventions.
The physical maintenance of portraits is supposedly scientifically based, supervised by
scientists, using scientific means like electronic microscopes, x- ray,
irradiation, and different photographic methods in order to highlight and
determine the painting technique, the mechanical construction and the chemical
composition of all used materials. Every restoration entails an impromptu
experimentation with cleaning solutions to remove varnish, safely. From the
chemical research of used pigments on the Frans Hals portraits of Nicolaes van
der Meer en his wife Cornelia Vooght, we know that some pigments on hands and
faces were artificial pigments that were only available after 1720. The Frans
Hals Museum states not to know what this means. This is an example of a major
iconographic intervention, an over painting, a type of repainting to hide the
true colour of the portrait complexion. To change the complexions and hair from
brown or black to pink and beige, or the dark hair to blond. To turn a brown
person in a white person. This is a major change in the narration offered by the original work.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
[van mierevelts en ravesteyns familie van Aerssen-beyeren en
schagen]<o:p></o:p></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<o:p> </o:p></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">To ignore
and maintain these common interventions is a type of scientific misconduct. The
complexions are changed to arrive at a preconceived important conclusion that
the European elite was white. Could only be white. This conclusion is closely
linked with the purpose and outcome of the Enlightenment (….) to free Europe of
the Ancient Regime. Firstly accomplished with the French Revolution (1789-1794)
and next with the Final Revolutions of 1848. This year saw an important change
in the Dutch constitution; ending the ‘privileges’ of the nobility. Presumably
also the end of bondage of serfs and villains: lijfeigenen or horigen. The first slaves in
the America’s were whites, the serfs, and the emancipation of slaves (1863) was
also because many slaves resembled whites. The Suriname Blue Blood Is Black
Blood Museum (June 2012) is dedicated to the study of this revisionism of
declaring Europe a white, superior civilisation and shows the true looks of the
elite that was described as brown and black of complexion. They were also
depicted as such, but all these portraits that showed their true complexion
have been mostly amended around 1880, but likely as late as 1947. This
important fact can be easily verified by comparing photographs of exhibited
portraits by Van Mierevelt and Ravesteyn in 1915 at the Gemeente Museum, in The
Hague. And photographs of the Rembrandts exhibited in 1887 at the Rijksmuseum
in Amsterdam. Some portraits of the Van Aerssen-Beyeren and Schagen family show
a dark complexion; next to some also showing classical African facial traits.
The Van Aerssens were the richest Dutch family in the 17<sup>th</sup> century
and owned 1/3 of the colony of Surinam. Engravings and drawings after newly finished painted portraits inform us of the true intentin to paint a brown or blak skinned elite person. The paint could not have darkened overnight.</span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
[alessadro Medici.[familie Medici][anna van
hannover.][charlotte van Mecklenburg-strelitz][stadhouder willem iv]<o:p></o:p></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<o:p> </o:p></div>
<br />
<h1 style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB"><span style="font-size: small;">Identifying historical Blacks<o:p></o:p></span></span></h1>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Typical for
eurocentric science is not providing clear answers, so we still are not sure if
the writer agrees that Alessandro de Medici is Black. While at the same time
offering us facial traits to identify Mostaerts anonymous portrait as Black.
What more information is needed to view Alessandro de Medici, Duke of Florence
as Black? A gold medal shows him as a heraldic Moor. What does the persons, or
his relatives say about his looks? What do his grandparents, parents and
children and grandchildren look like? The Medici family shows many Black types,
and his natural daughter portrait was recognized as showing a Black woman. A little
Black girl was rehabilitated on a portrait of Maria Salvati, the mother of Cosimo I de
Medici, who succeeded the murdered Alessandro. Before the WWII their tombs were opened, the sculls stripped from flesh
to be measured. Presumably to determine their ‘Race,’ which was apparently in
doubt. A historian claimed they were not Black, alessandro just loked Black, but was of eastern extraction. Some persons claim bewilderingly there is a difference between looking Black and being
Black. Charlotte Sophie of Mecklenburg, the wife of George III is then regarded
as just ‘looking’ Black. George III’s<span style="mso-spacerun: yes;">
</span>sister was Princes Anna of Orange, the wife of Stadhouder William IV.
Africa has many facial types, but only one has been consistently used through
the ages to symbolise Africa. This type is called Moor, and is mostly used in European imagery for
heraldic purposes. Starting in the Renaissance. But also common as such in Egypt, Greece and the Roam Empire. The heraldic Moor symbolises nobility but also Black Superiority.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
[bruine en zwarte types]<o:p></o:p></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<o:p> </o:p></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Next we can
state that any modern Dutch person is familiar with the looks of mulattoes, or
that by constant admixture with whites a Black family can become white. The
different stages can become fixed if care is taken to marry only other mulatto
types. These people could resemble the Egyptians we see on tv. Some are very
dark, some very light complexioned, but from one mixed gene pool. However, to call the brown and black complexioned Europeans who were the elite, a mullatto nation, some whites will say their merit is derived from the intermarriage with whites. the white DNA will domate their beastly Black DNA. So we need to maintain that the European nobility and the European civilization started with these brown and black Europeans. The blackness is not a 'strain' as Rogers will have it, making whites the beginning, the norm. Whited did not find the European civilizations. They never found any civilization. The concept of Human Races
was rejected, after WWII because of the use the nazi's made of it, also as unscientific because looks were not a foolproof method to
identify a person’s race. People from outside Europe see the resemblance
between say mulatto Antilleans and North Africans, or Indians and Somalia’s, or
South Moroccans and Pakistanis. Both ‘De Staalmeesters’ (The Syndic of the Clothes Makers Guild)(1662) and ‘De Nachtwacht’
(The Nightwatch) by Rembrandt show in old photo’s, persons with dark complexions. The central Staalmeester
figure Johan de Neve, second from right, is the darkest and has the strongest classical African facial features,
recalling genre paintings with a central Moor. The little, golden girl in the
middle of De Nachtwacht, also identified as a ‘mascot,’ still looks white in
spite of the yellowed varnish and supposedly darkened paints. That these
paintings show only white persons today is the result of over painting, but
this manipulation and serious amendment of historical and artistic data is carefully kept out of the
restoration reports and articles in scientific publications by the same persons
who have performed these changes. This is a crude type of scientific fraud,
akin to making fake Egyptian antiquities to proof that Egyptians were blue eyed
whites. Or scrubbing away brown or black paint layers of antiquities to show
ancient Egyptians as whites. All of this was to hide the true complexion of the
Ancient Regime. The blue blood research has arrived at a phase that for the
benefit of Blacks, it narrows the problem of white supremacy and racism to the
ongoing practice of over painting and maintenance of these fakes, thus
revisionism by iconographic interventions. Once this type of scientific
misconduct has been acknowledged racism will end as racism and concomitant
white supremacy is based on fake portraits. Whites who favor integrity, and do not hate Blacks, will be aghast to find out how they are being deceived by museums.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">[Jane
Austen][Moors]<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />
<h1 style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB"><span style="font-size: small;">Secondary sources deny Blackness<o:p></o:p></span></span></h1>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">The Blue
Blood theory is based on sources, which like these two articles about the
African Man by Mostaert, are only of use when not directly addressing
blackness. The sources, like all secondary sources about Jane Austen or
Charlotte Brontë: misconstrue or deny blackness. Kate Lowe states that 'the
portrait shows the very essence of a renaissance ruler or prince; except skin
colour.' (2005:17-47). The second articles convinces as claiming a link to the
House of Habsburg by identifying the costume colours as akin to that of a
Habsburg bodyguard, also seen on a miniature of Charles V leaving Mearle
Castle. ( ). The methodology of identifying Blacks by family names rooted in
‘Moor’ is useful up to a point. Not all Blacks were named like this. These
names can be regarded as self-identifying as Black by a family name, which
could also follow the family’s 'speaking crest' showing Moors. Family crests were
the refuge of the nobility, later also used by non-nobles. Today often
misconstrued as showing family interest in African slavery. Trade was disdained
by the nobility and a cause for stripping of noble titles. They rather married
an heiress from trade, like De Charrières mother who married Baron van Tyll van
Zuilevelt. or Othello marrying Desdemona, a shipping heiress. But its more usefull to identify a person as black or Black by their personal description, nick name, and engraved portraits. If their kin is described as Black, they were Black too, as blacks did not marry whites, who had very low status. The historical Declaration of Rights of Man seems to suggest whites were not considered humans. They were shoe leather. Whites had the right to fight against these Black oppressors, but chould this controversy be carried on after 165 years. Should whites not move on?<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="FR-BE" style="mso-ansi-language: FR-BE;">[Charles II
stuart][Louis XIV]<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="FR-BE" style="mso-ansi-language: FR-BE;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Some royal
rulers had nicknames as 'The Moor' or 'The Black' like Edward of Woodstock who was
called 'The Black Prince' or Charles II Stuart who was called 'The Black Boy.'
Charles II was described in a wanted poster issued by parliament as ‘A tall
Black man.’ James Boswell called him ‘The Swarthy Stuart,’ and many prints show
a very black skinned person. James Boswell, a Scottish noble by birth,
self-identifies as ‘black’ by stating that his yet unborn natural child should
be named 'The Black Prince,' as both its father and mother are ‘black.’ The well
preserved mummy of Charles II’s cousin Louis XIV was described as ‘black as
ink.’ Elisabeth I called…her ‘little black husband.’ It’s only when
eurocentrist researchers are attempting to explain these nick names, they are
driven by the thought that ‘There were no Blacks.’ These types of faulty
explanations are fixed in the mind of the lay people too and sound infantile on
cursory inspection. Black means black hair to them, while Boswell was described as:
‘Dark, with black eyes and dark hair.’ Pieterbaas is a heraldic Moor, which was
added to the Sinterklaas celebration in 1848 to turn these celebrations into a
hysterical, national racist initiation to make little white children aware of
their whiteness. In order to fix: the hatred of Blacks as the true essence of
whiteness. This prevents rational intercourse with civilized and learned white, Dutch
persons. <o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">[Anil
Ramdas]<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Today
noticeably exacerbated by the prevailing anti-allochtonen rhetoric; reinforced
by anti-allochtonen political measures, and laws leading to social segregation.
Bloodthirsty nationalism; but at the same time denied being nationalism. Yet this
mood and propaganda is akin to that against the Dutch Jews in 1933-1945. To be
a good Dutch means to be against allochtonen. To be Dutch is to be deaf for
petitions or complaints of allochtonen who are also denied a voice in the
media. Only blue eyed, white and blond citizens are presented as true Dutch.
Blut and botem. A nation should be one race, one religion, one identity. To
challenge the veracity of icons as De Nachtwacht is akin to challenge the Dutch
identity. The Dutch live in a primitive feudal hierarchy, where every one knows his place. And foreigners come way down, and should not sas the white just above them, who is already straining under the pressure. The whites live this hierarchy, its not a debate, and an allochtonous person should just understand his place. They cannot argue this, or name this, but transgressions will be stamped out harshly. For some time some workers at the Royal Library sopied on my research and bookwriting and practiced open sabotage. Yet complaining to the 'good' others did not result in an end to the terror. The many European Holocausts are a reset and a means to stop lawlessness and
the degradation of a civilisation, by mass murder, slave labour, stealing
property, mass ejection of population, and murdering seniors and handicapped
dependents of the state, not honouring insurances paid over many decades, while
afterwards preventing persons to claim goods and rights. Today we are facing a new Euthansia religion, and we have 31 Ambulat Euthanasia teams running rampant. The suicide rate has risen, as they 'help' 60 persons a month. the aspect of consent has been taken out of the law. So the Dutch are preparing another Holocaust. Sources like
I.Lipschits and D. Hondius show the Dutch state taking anti-Jewish measures
before and after the German occupation. Heinz Lippmann wrote ‘Het Vaderland’
already in 1933, a novel set in a concentration camp, showing all the violence
and killings we are familiar with. He was prosecuted, after complaints by the
German government, for insulting a foreign head of state. Even though Europe
knows a long history of anti-Semitism and pogroms, as well as mass fleeing of
Jewish citizens, the Dutch still claim 'not to have known what faith awaited the
Jews' they deported to the German Nazi’s. And identified and helped to be
deported to Germany. The French government has conceded, like the Brussels
government that they, without any German pressure; identified and rounded up their
own Jewish citizens, and delivered them to the Germans for extermination. Some
defend this by claiming that the Vichy government was not the French
government. Surinam Dutch author Anil Ramdas, like Thomas Mann, fell from grace
when he asked if Holland was preparing a Holocaust. The inability of the Dutch
to address these fears feeds my notion that Europe and Holland is preparing
its next Holocaust against the brown, black and Muslim citizens. This
indoctrination prevents all white Dutch researchers from having a rational
discourse about their own civilisation and identity. Holocaust are part of what
Europeans understand civilisation to be.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
[Maria Jacoba van Goor][Belle van Zuylen][aarnout joost van
der Duyn van Maasdam] George Keppel van Albemarle][Elisabeth Keppel][Apollo van
Belvedère] [Wetenschappelijk racisme]<o:p></o:p></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<o:p> </o:p></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<o:p> </o:p></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">“She
would have been beautiful if her throat was whiter”<o:p></o:p></span></b></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></b></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Pieterbaas’
black complexion is explained as coming from chimney soot. But the soot does
not explain his frizzled hair, or his red lips. Nor how he maintained the
whiteness of his lace collar, of the cleanliness of his gloves and costume. So
the black faces on old portraits were also explained away by claiming yellowed
varnish and darkened paint by the scientists. Yet at least this confirms the figures looked dark. The yellowing and changes in
colour are legitimate, natural phenomena but exaggerated to justify often crude
over painting as an iconographic intervention to make the faces white. There is
a precedent as the Ancien Regime saw itself as the inheritors of the classical
civilization and its aesthetic ideals. Those favoured a white complexion and a
Greek profile. Artists were bound to create beauty. But its not sure how binding this was. I'm sure some Greek/Roman mural paintings were whitened afterwards. Next to the black portraits
with their true complexions, some also ordered portraits that in conception showed
them as whites, or as Greek gods, or as Shepherds. Marie Antoinette dressed as a
rustic and played at her farm, Le Hameau de la Reine, on the grounds of
Versaille.<span style="mso-spacerun: yes;"> </span>She and like many other dark
complexioned nobles and royals; painted up white and bleached with lead white
laced creams. Persuasion (1 8 ..) by Jane Austen (1775-1817) names Gowlands, a famous
facial bleach since 1760, and how it was to be used in spring for maximum effect. The vocabulary by Austen,
Isabelle de Charrière and Charlotte Brontë reserves the word 'beauty' for white
or light coloured complexion. Others are only 'good-looking,' 'handsome' or 'pretty.'
Cecile is described by her doting mother as brown and the colour of a red
sweet-pea, and she writes that Cecile ‘would have been beautiful if her throat
was whiter.’<span style="mso-spacerun: yes;"> </span>The novel Jane Eyre (1847)
presents Saint John as white, and compares him to the Apollo of Belvedere. De
Charrière writes a poem ‘About his black brown complexion’ (1774) praising
Baron Maasdam’s complexion, comparing him to the dark complexioned war god Mars
and his rival Apollo, who was blond. Both suitors to Aphrodite who is also
called Venus, and Cythère. A sour Surinam fruit is named Pommes de Cythère.
White skin was thus revered by a civilisation that identified as Black by the
use of heraldic Moors, and Black Madonna’s, that both also symbolised Black as
superior over white. Some black complexioned painted portraits prevail in the
guise of engravings made after them. The shading depicts a dark complexion, and
is reinforced by descriptions of a person as brown or black. Most persons
understand that a dark person has dark parents and dark children. So even if we
have collected only 25 personal descriptions, they can be used as a standard to
compare other engravings, and identify them as depicting a brown or black
complexion. <o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">[The
Philosophers at supper by Jean Huber]<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Such a
group drawing by Jean Hubert of The Philosophers At Supper shows only brown or
black complexioned Europeans. </span><span lang="FR-BE" style="mso-ansi-language: FR-BE;">Jean Jacques Rousseau (17..) </span><span lang="EN-GB" style="mso-ansi-language: EN-GB;">was described by James Boswell as ‘A genteel black man in an Armenian
coat.’ The great coat was employed to hide a catheter. Portraits of De Ronde D'Alembert,
who was an aristocratic foundling left on the stars of the De Ronde church, and
shows classical African facial traits. This leads to the final conclusion that
both the noble elite and regent class or bourgeoisie elite was brown or black
of complexion. After his visit to Holland Boswell writes that his niece
baroness Maasdam is ‘ Mrs. Maasdam, black as chimney.’ She was married to Baron
Aarnout Joost van der Duyn van Maasdam, of old nobility stock. He was described
by Boswell as ‘her husband chimney sweeper.’ The same baron described as 'black
brown' by De Charrière. Boswell was a suitor to De Charrière. <o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">[nobles and
kings as apes]<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">De
Charriere self-described herself in a pen portrait as ‘She does not have the
white hands, she knows this and even jokes about it, but this [skin colour] is
not a joking matter. This self-identification is misconstrued to claim she had
ugly hands. Even having a researcher claim she ‘artfully’ hided her hands on a
certain portrait because they were ugly. Not realising that portraits with
visible hands were more expensive, like those with pearls, which called for
greater painting skills. De Charrière wrote on the eve of the French Revolution, after
human races were invented and a hierarchy between races was invented. She has
many brown and black complexioned persons in her novels. All writers of the
Enlightenment compared Blacks to apes, seeing apes as degenerated humans. Human
degenerated because of their moral degradation. The question should be, why
were human races, an unscientific concept ever invented? The different writers could
not agree on how many human races there were and what they were. Some claiming
Arabs and others Native Americans as a human race. Scientist like Blumenthal
saw the Caucasian Race as a scull type, and not a complexion, lumping black
skinned and white, blonds in one white race. The final conclusion is, after
realising the philosophers were targeting the problem of noble oppression.
Nobles identified as superior with heraldic Moors. So racism against Blacks
should be understood as a liberation ideology, to free Europe from noble
domination. Some 17th century paintings by Tenier and Ferrand already depicted
nobles and the King and Queen as apes in a kitchen or a tavern, sometimes
magnificently dressed in the fashions wore by the nobility. These depictions
should be understood in the prevailing context of the high bourgeoisie opposing
the nobility, as anti noble propaganda, and early examples of comparing the
Black nobility to apes.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
[Zwarte Grieken en Romeinen]<o:p></o:p></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<o:p> xxxx</o:p></div>
<br />
<h1 style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB"><span style="font-size: small;">Scientific misconduct as crime<o:p></o:p></span></span></h1>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">The Blue
Bllod research approaches sources as how the police use statements of a
suspected criminal that reveal deep and pertinent knowledge to the crime. He
might know how or where or details of a crime, without this knowledge been made
common knowledge. A criminal is also identified by motive, access and means.
His motive is to benefit from a crime, to correct or prevent an undesired
outcome, as in cases of inheritance or professional competition. A criminal
must be shown to have access, means or assistance to have committed the crime
to be successfully convicted. A criminal might be discovered to have taken
steps to cover his track, by destroying evidence, bribing or intimidating or
killing witnesses. Scientific misconduct is criminally persecuted by means of
concomitant crimes as perjury, obstruction of justice, valsheid in geschrifte
and financial fraud for personal gain. Blue blood links sources and the phrase
is then derived from blue men as how Black Europeans were called. We find
Blacks in almost all medieval miniatures, even as menacing warriors or church
grandees. But even earlier as Greeks and Romans. The usual approach is that
Greeks and Romans were all whites who looked at Blacks as outsiders, slaves or
barbarians. And that artists and the person who employed these artists were
whites. Instead we can see the depicted persons as the Black clients, and we
may assume they requested ornaments showing blackness. The Greek elite saw
itself as derived from the Greek earth, thus rightfully dominating the
barbarian newcomers who came later. The same rationale governed the European
nobility founded between 1100-1200, against the white newcomers. The nobility,
de adel, was ‘edel’ thus true Europeans with superior rights. Their reign was
heralded with a Black Maurice (1120) and Balthazar, the Black King at the birth
of Jesus, to show the Black King as a good Christian. Christianity was the
European identity, and Christian Blacks were contrasted to Black heathens and
Muslims. A Black European identity was forged as Blue Blood, and depicted as
heraldic Moors, Black Saints, Balthazar, Black Madonna’s and Black images of
divinity. <o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">[Dido
Elizabeth Langsay][Shakespeare]<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Moors were
also part of literature where there was a close connection between nobility and
noble looks. The Black knight in Parsifal…eisen.was praised as ‘his breeding
excelled all breeding.’ He was the central Moor informing us about the noble
credentials of the company. Jane Austen used the same concept by offering us
the black Mr. Elton and Mr. Crawford. They were both heraldic, central Moors,
both a symbol as well as a character. She writes: ‘Mr. Elton, black, spruce and
smiling.’ Or how Mr. Crawford was perceived by the noble Bertram ladies as :
‘Absolutely plain, black and plain, but still the gentleman.’ Yet Mr. Eltons
blackness is denied by eurocentrists claiming ‘black’ refers to his ministerial
clothes. Yet Crawford was definitely not a clergyman. Austen dedicated
Mansfield Park also to theatre and Shakespeare as the quintessential
Englishmen, like Mr. Crawford. Regarding the play Othello, the Moor of Venice,
we should understand he self-identified as a descent from a line of royal men.
He thus outranked all the other characters as a noble man among the regent
class rulers of Venice. The objection against Othello, coached in seemingly
racist invective, was actually mild, humorous anti nobility banter by
Shakespeare. His plays were performed before royalty and nobles, who subsidised
him, but also for non-nobles who were the bulks of his audience and whose
political views ought to be acknowledged. Though not necessarily embraced. Both
Shakespeare and Austen belonged to the gentry, traditionally against the noble
oppression but regarded as superior over whites and white serfs. Austen is
equally critical of the nobility striving for nobility based on merit and
accomplishment. This is also echoed by De Charrière who belonged to the old
nobility in a letter to her young cousin, in discussing a new role for the
nobility that is not only based on name and the privilege of high birth. All
the sources rightly understood are about the Black domination of Europe. <o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />
<h1 style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB"><span style="font-size: small;">Personal descriptions and depictions compared<o:p></o:p></span></span></h1>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Members of
these groups were described and depicted as brown and black of complexion.
Those with classical African facial traits, like Jane Austen, were considered
as pure of blood. They resembled the heraldic Moor that was a symbol of blue
blood and Black Superiority in Europe. This knowledge is suppressed by state
racism through portrait restoration practices by immoral scientists that we
should view as scientific misconduct to ignore data to arrive at a preconceived
conclusion that the European elite could only be white.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
[Zwarte Madonna van Halle][Medaille]<o:p></o:p></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<o:p> </o:p></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">With the
medal of the Black Madonna Of Halle on his cap he identifies as Black. Black
divinity was another symbol of Black superiority, next to images of Moors. The
statues of the Black Madonna’s are found all over Europe. The Black Madonna
logically symbolised a Black God as Black People were superior, created after
gods own image. The birth dates of both the painter and Emperor Charles V, and
the date of his pilgrimage to Halle make this conclusion feasible. Recently a
miniature appeared on the web of Dorothea of Denmark. She was a daughter of
Margarita of Austria, a sister of Charles V of Habsburg. The miniature shows a
Black woman with the same type of protruding, bulging eyes as the Mostaert Portrait.
She is also depicted as a fully white woman. The Habsburgs were known for their
subnasal prognatism, yet this telltale feature was later twisted into a
‘hereditary disease’ of a pernicious prognatism due to inbreeding. Charles V
natural daughter was married to Alessandro the Medici who was Black and was the
Duke of Florence. <o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">[Anna
Boleyn][Catharine of Aragon][Ferdinand of Aragon and Isabelle de Castilie][Mary
of Scots]<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">There are
many portraits of Charles V and all show a completely different face, but most
agree on the prognathism. But the portrait by Cranach the Elder shows the same
tilt of the head as that of this Mostaert piece. Another one by … shows the
same bejewelled bag as the Mostaert Portrait. A photo of Charles V’s mummy at
the Escorial shows a photo of a black coloured mummy, which was described as
with a black beard, and massive prognathism. Portraits and statues and
statuettes of his son Philips II show the same prognathism and frizzled hair.
Philips first wife was a daughter of Catharine de Medici. Her son Henry was
described and depicted as ‘swarthy.’ Ferdinand of Aragon was Charles V
grandfather and although a whitened image, he shows thick protruding lips. A
half-whitened portrait of his daughter Catharine of Aragon, the first wife of
Henry VIII Tudor, shows prognathism. Henry’s second wife Anna Boleyn was
described as ‘very dark, with black eyes and dark hair.’ Her daughter Elizabeth
I was famous for painting up white, and was seen as ‘dark.’<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">[Was Jane
Austen Black?][John Donne]Dr. Johnson][Madame de Staël]<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />
<h1 style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB"><span style="font-size: small;">Was Jane Austen Black?<o:p></o:p></span></span></h1>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">The blue
blood research has spawned a Museum dedicated to the true looks of the European
elite. They were described as brown, black, swarthy, The Black Prince (Edward
of Rosewood), The Black Boy (Charles II Stuart), black as chimney, chimney
sweeper, not the white hands, basanè or brown black, and ugly (Jan Vos) in the
19<sup>th</sup> century. Jane Austen (1775-1817), was described as ‘a brunette
of complexion’ and ‘a brown, not a pink colour.’ All her personages were ‘light
brown or sallow, brown, very brown and black.’ Her brother Henry quoted poet
John Donne when he described his sister as ‘The eloquence of her blood showed
in her humble cheeks.’ An JASA portrait, which surfaced in 2000, conforms with
all her personal descriptions and shows dark colouring, and a broad mouth. The
fact that there is no authenticated portrait of the most famous writer in the
world might be due to her Black looks.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">An analysis
of her books and letters shows a dedication to Black native Europeans and their
fate, as well to Africans enslaved by their fellow European Blacks. Yet her
minister father George Austen was also a trusty for an Antigua plantation owned
by a Mr. Nibbs, Austens godfather. Her Fanny Price is based on Dido Elisabeth Langsay,
a beloved niece of Lord Mansfield. She was a mulatto, called after a famous
African Queen. But due to her lower status as a daughter of a freed slave, she
ate with the family, but had to leave the table when there were guests. But
with Austen whites are the ‘lower orders’. She writes in Northanger Abbey: ‘The
Tilneys were brown and superior.’ In the highly allegorical Emma (1817), Emma
Woodhouse is based on Queen Elizabeth I (Heartland, Hartland), Mary of Scots
and King James (Miss Harriet, Carr) who was gay. The first descriptions of Emma
and Harriet seem to describe a lesbian friendship, complete with sleepovers.
From reactions by Mr. Knightley and Mr. Elton, to Emma’s plan to wed Harriet to
him who she presents as ‘Mr. Elton, black, spruce and smiling,’ we can
understand that Austen was against Blacks diluting their pure blood with whites
and giving whites notions of equality. From Mansfield Park we further
understand that Blacks lost power by giving positions to whites. She was
writing against the lost of power by Blacks since 1760 when human races were
invented, and the execution of Comte de Feuillide during the French Revolution
might have motivated her to write. Emma is her version of a post revolutionary
Britain, but still with the whites as servants, which she saw as ‘natural.’
Charlotte Brontë published Jane Eyre just in time for the final 1848
revolutions as an apology to whites. As a member of the gentry class Austen and
Brontë were both against aristocratic domination. An early review brands Miss
Brontë as ‘antichristian’ for questioning noble rule, it’s nature, symbolised
by the very dark complexioned Mr…Her descriptions of the white Sint John are
almost scientific, comparing him to the Apollo Belvedere. Europe at this period
might be considered a continent dominated by two Black tribes, somewhat
intertwined, equally oppressing the white serfs, but fighting for power. <o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">[The Masque
of Blackness]<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">The remarks
against The Moor in Othello, are today wrongly seen as racist against all
Blacks, but should be understood as relatively mild and humorous worded
protests against the British nobility which identified with images of Moors.
Other Blacks were never a threat. There were many plays during this time with
central Moors, who like Mr. Elton, and Mr. Crawford, are a symbol and a
character. If there really were such strong convictions against Blacks among
the Venetian regents, how could Othello be the highest military in Venice. How
could Blacks, or Mores be members of royal families in other plays? Othello
says he comes from a line of royal men, from Africa. This idea is echoed in the
play ‘The Masque of Blackness’ by Ben Johnson that was ordered by Catherine of
Denmark, the wife of James I Stuart. The play says that Blacks came to Europe
looking for a milder sun, and that black beauty does not fade. The Queen
herself played the River Niger, a West African river, in blackened face. Which
does not mean she was white of complexion. Blacks come in many shades, but the
heraldic Moor was like Mostaerts African man, always the blackest and most
prognastic type. Anna of Denmark was portrayed for an African dress design for
her role, as a dark brown woman.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Austen
writes cryptically in a letter to her niece about ‘two and three families in a
country town as just the thing she likes to work with,’ and we may assume she
means that brown and blacks were 2-3%. With the true blue bloods who were the
highest nobility, and did not have a need for noble charters and numbered
around 1%. Blue bloods were descendents of blue men, black and brown Europeans
who were even seen among the Vikings invading England, sometimes as leaders,
and are described in old text. David McRitchie collected text and wrote about
black and brown Europeans in Ancient Britons. We also know that nobles often
painted white, and that the lead white acted as a skin bleach that indicate
they had black or brown skin. This fashion was translated to some portrait
painting as the painter in conception made his brown sitter white. Sometimes
altering the facial traits to conform to studio standards of ideal facial
measurement. One reason why different painters depicted persons very
differently. And because of licensing and infringements laws every portraitist
needed to present a very different image then those of his commercial rivals.
According to the vague descriptions by Huygens, PC Hooft and Grotius we can
understand that Van Mierevelt was one of the few that painted his clients
‘after nature.’ And his work ‘showed the softnes of the flesh’ and ‘sweet, dear
colours.’ The reality of Black Supremacy was cautiously spoken of as it was
also not something that could be debated, as noble rule was presented as willed
by god. Starting in 1100 when the oldest noble genealogies start and ended with
the final revolutions of 1848 when serfs were emancipated. <o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="FR-BE" style="mso-ansi-language: FR-BE;">[Rousseau][Voltaire][D’Alambert
de Ronde]<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="FR-BE" style="mso-ansi-language: FR-BE;"><o:p> </o:p></span></div>
<br />
<h1 style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB"><span style="font-size: small;">The position of white serfs as shoe leather<o:p></o:p></span></span></h1>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Presumably
the trade in human skins and the life flaying in public was also abolished. The
life flaying is the cruel and unusual punishment referred to by the Declaration
of Human rights. These were white serfs asking their black noble masters for
equality. This fact is twisted around to mean Blacks asking whites for
equality. Who would then be these Blacks in Europe during this period? All
writers of the Enlightenment supported the invention of human races (1760),
that were invented to give serfs human status, and to construct a hierarchy
among races with whites on top, and Blacks way down, just above apes. The ape
was presented as a degenerated human. Even today some whites regard Black as
apes, acting as if they still fear domination by Blacks. All the writers of the
Enlightenment were depicted together by Jean Huber als black and brown persons,
and individual portraits exists that show them as brown and white. Rousseau was
described by James Boswell, who was a Scottish nobleman, as ‘a gentile black
man in an Armenian coat.’ They were members of the bourgeoisie and because of
their number we may conclude the whole elite was brown and black. The noble
class tribe was opposed by the regent class tribe, which sided with majority
white serfs to defeat the nobility. Racism was used as a liberation ideology;
as also many Black Madonnas were destroyed. For a period human skins were used
to line church doors, showing that god condoned this practice and the
domination of whites. Jonathan Swift wrote about a young woman being publicly
skinned alive and suggested that the children of the poor should be turned in
gloves and shoes for fine ladies and gents.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">[lynching]<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />
<h1 style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB"><span style="font-size: small;">Racism against Blacks is a liberation ideology<o:p></o:p></span></span></h1>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">The blue
blood theory attracts followers who are against white supremacy and oppose
racism against Blacks and understand that they need to find the root of racism
to end racism. Racism is an old liberation ideology to free societies of noble,
minority rule. Yet today 1% of the population has all the money, wealth and
political power, and they have to make sure that the other 99% does not unite.
That’s why we have trade in women and prostitution, and woman are kept out of
prestigious and religious positions to teach men that women are less and are
different to men. This is to divide the two greatest categories. Next we have
homo hatred to divide men and women among themselves. Art reflects the
political reality, and today we have accomplished a total social segregation of
allochtonen, like that of the European Jews in 1933-1945. Now every Dutch is an
agent of the state and needs to ignore and denounce foreigners. And the Dutch
have a new incentive to ignore over paints as they are resolved to fight
foreigners who they are told are a threat to European safety and European
civilisation. Any incident is blown out of proportion to show all allochtonen
as evil, criminal and murderous and on a rampage. There people are completely
at the mercy of the media, and nobody seems capable of independent and rational
thinking.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">History
forms part of the means a state uses to foster nationalism, and to divide and
oppress the people. Racism has become another mean to divide working class
people, because a white worker and a Black worker suffer the same exploitation.
Museums have become churches of the revisionism of history by showing white
images of persons who are described as brown or black and also depicted as
such. The majority of the portraits on display are whitened, over paints.
Photographs of De Staalmeesters from 1880 show them as dark complexioned, which
means they were altered as far as in 1929. The scene shows the Blackest one in
the middle, to show Black Superemacy. The Gemeente Museum in The Hague showed
in 1915 portraits of the Van Aerssen-Beyeren family collection, with a few who
are not over painted and a few whitened copies. They were the richest people in
the 17<sup>th</sup> century and owning one third of the Surinam colony.
Cornelis van Aerssen van Sommelsdijck was a grandson of François van Aerssen,
and his granddaugher was described by her cousin James Boswell as ‘black as
chimney’ while her husband Baron Aarnout Joost van Der Duyn van Maasdam was
‘chimney sweeper.’ Baroness Belle van Zuylen wrote a poem ‘About his brown
black colour’ and compared Maasdam to the war god Mars who was depicted as
black. She wrote to her lover D’Hermenches that the family was famous for their
‘swarthy’ complexion. An engraving of George Keppel of Albemarle shows a very
dark skinned person, and he was a full cousin of Baron Maasdam. <o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">[Iconographic
Interventions]<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />
<h1 style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB"><span style="font-size: small;">Iconograpic interventions by over paint of complexions<o:p></o:p></span></span></h1>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Blackness
on paintings was explained away in the 19<sup>th</sup> century as ‘yellowed’
varnish and ‘darkened’ paint. So restoration became a means of revisionism and
state racism. Restorers do not identify iconographic interventions that have
changed the complexion from brown and black to pink and beige. They preserve
the drastic iconographic interventions to colour the European elite white. Most
portraits on display are in the possession of the state and are whitened. Thus
white supremacy is based on fake, whitened portraits. The on and off labelling
of Rembrandts as fake or authentic or fake seems to be linked to the fake top
layers, but regarded as the hand of the master by the so-called specialists,
while we are looking at a defacement. Often this was done expertly, but it
seems that some of the employed artist wanted to leave their mark, or something
of the spirit of 1880. A portrait of Peter de Groot by Delff shows pointillist
paint strokes akin to portraits by Van Gogh. The heavy degradation of portraits
might be attributed to the restoration with inferior materials or inferior
practices, causing crumbling of paint layers, and the lost of paint layers so
we can even see the brown and grey under painting. The Mauritshuis Catalogue
talks about complete brown under paintings that are a detailed face. This feeds
into the research of the Frans Hals Museum that on the works showing Nicolaes
van der Meer and his wife Cornelia Vooght, the hands and faces were over
painted with pigments invented after 1720. Both museums claim not to know what
this means, as again it points to over painting. According to a restorer’s
handbook it’s a type of repaint that should not be identified in the
restoration file and be maintained as much as possible. This is a type of
scientific misconduct to disregard and ignore data, and maintain fake layers to
arrive at a preconceived conclusion that the European elite was white, and
could only have been white.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />
<h1 style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB"><span style="font-size: small;">Jan Mostaerts African man as exhibit A?<o:p></o:p></span></span></h1>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">The African
Man by Mostaert is described in the articles as if a copy because it was made
with long, flowing strokes, not the short, searching strokes of an painter
finding a good depiction. It also looks unfinished as both the red garment as
the blue green background seems to want more paint. Reading the articles it
seems to have all the right properties to be regarded as a portrait of a ruler,
but that rulers were never, could never be Blacks according to revisionist,
racist scientists. Would an Emperor joining his men in battle identify and
expose himself to the enemy in opulent clothes or rather blend among the men
who fight with him. William of Orange was educated at the Habsburg court. He
was described as ‘more brown then white,’ and ‘brown of complexion and the
beard’(Jhr. Beresteyn 1933: 1). Some of his portraits show subnasal prognatism
and frizzled hair. Races were invented in 1760 and his looks would be today
described as Black: a Negro. The present negative image of Blacks came after
1848 when history was painted white, but is due to the fact that Blacks ruled,
civilized and christianised whites that liberated themselves from oppression by
1848. The Dutch Royal family was brown and black complexioned, some with
classical facial traits, which by the 19<sup>th</sup> century was regarded as
ugly. The reasoning around the African Man today is the verbal equivalent of
the approach and the restoration practices to maintain a preconceived
conclusion, a practice very much in the media today as scientific misconduct. <o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Egmond
Codfried<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Curator
Suriname Blue Blood Is Black Blood<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">The Hague<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Sources:<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Christophle
le More Boogaard, Rijks Museum, jaargang<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">JA Rogers,
Sex and Race<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
Beresteyn, Portretten van de Prins van Oranje(1933: 1)<o:p></o:p></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
Enamelling<o:p></o:p></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
Portretten van Hugo de Groot<o:p></o:p></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
Mijn Leven, Huygens.<o:p></o:p></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
De Portretfabriek van Mierevelt.<o:p></o:p></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
Belle van Zuylens oma; Maria Jacoba van Goor (1687-1737);
een beknopte studie of zwarten in Nederland en Europa door de eeuwen
heen.(2005)<o:p></o:p></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Frank
Snowdon, Blacks in Antiquity, 1971<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Blacks in
the Dutch World.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Kim..Things
of Blackness<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">English
Kings<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">David
McRitchie, Ancient Britons<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><o:p> </o:p></span></div>
Egmond Codfriedhttp://www.blogger.com/profile/10597005835134961469noreply@blogger.com0tag:blogger.com,1999:blog-1401624891557825179.post-59511121583954278292013-08-19T06:07:00.001-07:002013-08-31T03:44:23.025-07:00<h2 style="text-align: center;">
THE MOORS IN WESTERN ART ARE SYMBOLS OF BLUE BLOOD AND BLACK SUPERIORITY</h2>
<div style="text-align: center;">
</div>
<div style="text-align: center;">
Many persons are not aware of the many images of Blacks in western art. They are often misunderstood, and labeled slaves or servants when they are not real people, but heraldic symbols of blue blood and Black superiority. The Spanish Moors were Muslims, and do not show up outside Spain. The talk about Spanish Moors is confusing as it leads to think they were the only civilizing Blacks in Europe. The christians they confronted were the brown and black complexioned European elite. As the Spanish Muslim Moors were driven out in 1492, they did not play a roll in European history after this date.</div>
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Maximillian i of Habsburg, the father of Charles V Habsburg</div>
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Moor in a portrait of George Washington, who had noble ancestors.</div>
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Model, resembling Mr. Elton in 'Emma'(1816), described as 'pretty,' 'a broad face,' and 'handsome.'</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh26gClC7ut7qX4xHtvTZnteguTRKnwXm5gfqN1IkghRY4qeEemGg1TwD_uVwgBUBArkKJAmdgzcqPYAmS4o6h91zxKnRaQp4EBFoRvfVUy_z95i1kG3RQkjEHLTmSWnHc3qgw7g97Q_qU_/s1600/m18.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh26gClC7ut7qX4xHtvTZnteguTRKnwXm5gfqN1IkghRY4qeEemGg1TwD_uVwgBUBArkKJAmdgzcqPYAmS4o6h91zxKnRaQp4EBFoRvfVUy_z95i1kG3RQkjEHLTmSWnHc3qgw7g97Q_qU_/s1600/m18.jpg" /></a></div>
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Family crest with a Moor symbolising Blue Blood, not slave trade.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjl3dNMJtE5kLQXKh5XCVvY8dvAR7g2nBZ0z2XLkzHQ44NHCyZNClKD8r9CNrwNM_UfhpZZ-WUPjItGRalVKaZbS9twGcD6n60DPezY957TczMZB7qskRRLGjFtjFIKt0vnShi3aUf690BE/s1600/M19.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjl3dNMJtE5kLQXKh5XCVvY8dvAR7g2nBZ0z2XLkzHQ44NHCyZNClKD8r9CNrwNM_UfhpZZ-WUPjItGRalVKaZbS9twGcD6n60DPezY957TczMZB7qskRRLGjFtjFIKt0vnShi3aUf690BE/s320/M19.jpg" width="275" /></a></div>
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The French ancestor of George Washington<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWElU4GuPRS7G4sYhA1H3TzrSI3hZJB18mmvnYdnaCy4TzZZKD69qTAb3Iat9lsVrCs-N7kY2I0zhK5SHvlW7L03HSjzCbcYi0HX2r3fCZmNHGXAatwjaiYCBMTmwGdIkGgKwyXpQCWT7K/s1600/m20multi_68_Maximilian%25203%2520(2).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWElU4GuPRS7G4sYhA1H3TzrSI3hZJB18mmvnYdnaCy4TzZZKD69qTAb3Iat9lsVrCs-N7kY2I0zhK5SHvlW7L03HSjzCbcYi0HX2r3fCZmNHGXAatwjaiYCBMTmwGdIkGgKwyXpQCWT7K/s1600/m20multi_68_Maximilian%25203%2520(2).jpg" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQhj_ogtRwKB2QtrMU3gn0OvEhM0krmuAYcZk09gtRfen9IiQikG3lvbi7NQvJPKUeDjrbI2LG3UiCygWNWaBHoVrd7j1Uh_QCjFHFsD9MWlRls7BPseMxNZSqASNMj-iX69F5fwxa60fB/s1600/m21.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQhj_ogtRwKB2QtrMU3gn0OvEhM0krmuAYcZk09gtRfen9IiQikG3lvbi7NQvJPKUeDjrbI2LG3UiCygWNWaBHoVrd7j1Uh_QCjFHFsD9MWlRls7BPseMxNZSqASNMj-iX69F5fwxa60fB/s1600/m21.jpg" /></a></div>
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The Racial Hierarchy, showing Blacks just above apes. Apes were considered degenerated humans. The Blacks they were targetting were the nobles who identified as black and superior with images of heraldic Moors. Because they oppressed whites and bourgeosie they were considered morally evil, and became degenerated. As Blacks they were one step away from apes. Some whites still look at blacks as a kind of apes, and this is how it got started. Nobles were earlier likened to apes, and 16,17th century paintings by Tenier, show nobles as well dressed apes in taverns.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsJJ91Dsxr8zToxMcE-TBdENnO2aeDSdG_JDtsLjkOBc2JFbkW00HKGNVTq-0LOx6GlfD3n5mWBd4P_kEX9wDJ9Klpnzj0pYcedO4vvKXU4KGuz4QoT-NsZwj5T8OzxtQtNgbX9VnYjaWW/s1600/m22.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsJJ91Dsxr8zToxMcE-TBdENnO2aeDSdG_JDtsLjkOBc2JFbkW00HKGNVTq-0LOx6GlfD3n5mWBd4P_kEX9wDJ9Klpnzj0pYcedO4vvKXU4KGuz4QoT-NsZwj5T8OzxtQtNgbX9VnYjaWW/s320/m22.png" width="254" /></a></div>
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Madame de Kerouaille was a mistress of King Charles II Stuart and the mother of his natural son. She belonged to the French aristocracy, and here self-identifies as Black and noble with a little Moorress. The child offers her pearls and red coral. Pears symbolise purity of noble blood. her face and hands are whitened.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpRBQj48nvTtKJBtqg3NByCFuhE-mMO4D712OC8DQDXEn6BYMXfAIanUbnK3wmax2I3vXcG2E0LAHtkNSlm892HgpzZFBoXt0o27WpiLNsyNITx79VhUJpGl6J1_RpARcPR5ZZCUUNU4EY/s1600/m23.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpRBQj48nvTtKJBtqg3NByCFuhE-mMO4D712OC8DQDXEn6BYMXfAIanUbnK3wmax2I3vXcG2E0LAHtkNSlm892HgpzZFBoXt0o27WpiLNsyNITx79VhUJpGl6J1_RpARcPR5ZZCUUNU4EY/s320/m23.jpg" width="320" /></a></div>
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The Coburg Moor. The British Royal family are Germans, and used to be called Saxen-Coburg-Gotha, but changed it to Windsor.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgV-ZaSXjWoaRYkr2LwYGL0Yy6vriwNk79ucyuMNj9xPNWd9Ffd1xe8M0_6IRACD0XPaG2M-arGMPkPcidn4DnUrNQa3jKQbVB8cqQSZI4paBwkjFETeAb3HYFiJpjkVaVnppcq0jm9eEbY/s1600/m24.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgV-ZaSXjWoaRYkr2LwYGL0Yy6vriwNk79ucyuMNj9xPNWd9Ffd1xe8M0_6IRACD0XPaG2M-arGMPkPcidn4DnUrNQa3jKQbVB8cqQSZI4paBwkjFETeAb3HYFiJpjkVaVnppcq0jm9eEbY/s320/m24.jpg" width="240" /></a></div>
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Encyclopedier Jean de Ronde D'alembert. Named after the church De Ronde, where his noble mother left him on the stairs as a foundling. His looks show classical African facial traits considered proof of noble blood.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7g7ABs4k4gcCW1Cr3B4b_lc2cvky-lg1nRIiSeoQGpzTPeF3okLw-aoureLKbY1uYZzkK0H3TXqKVyyb2WawFJgZ025kYh0J8jxQFNFp4f5ZVGadeIhNg2JhF0hM_OfW6VB01sNZcOD3s/s1600/m25.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7g7ABs4k4gcCW1Cr3B4b_lc2cvky-lg1nRIiSeoQGpzTPeF3okLw-aoureLKbY1uYZzkK0H3TXqKVyyb2WawFJgZ025kYh0J8jxQFNFp4f5ZVGadeIhNg2JhF0hM_OfW6VB01sNZcOD3s/s320/m25.jpg" width="298" /></a></div>
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The banner of Corsica. The headband was introduced by Alexander the Great who did not want to wear a crown. So this Moor is a royal Moor: a Black King.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5EbxZvxgsC8chuvlkVs4a2Txyco2Td1pCIOGsJWyZ7ji43gPxvkxXV0ZXOL7vthUR51z8aejdnt0owYX1N7TXlRIKdorkMSCm5b7-wiau8Ouw2CERImJgxZFjH0Q8tZASyeuiuIaVimr0/s1600/moor.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5EbxZvxgsC8chuvlkVs4a2Txyco2Td1pCIOGsJWyZ7ji43gPxvkxXV0ZXOL7vthUR51z8aejdnt0owYX1N7TXlRIKdorkMSCm5b7-wiau8Ouw2CERImJgxZFjH0Q8tZASyeuiuIaVimr0/s1600/moor.jpg" /></a></div>
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A heraldic Moor</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBDE5Qq8odDBgmVlmtID4Fbim6DEwlQpWrt1KAios6Sf-mu4fyo3zkK2fRH1b2znjNYPRvKWXTNAMStEVUxydjbm31uMmVtpTlsRZDQ6o3_5WT7ltKXijp9VrtEpKmmQIKp7rspnYF1BK9/s1600/moors10bleu-lectoure-vierge-noire.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBDE5Qq8odDBgmVlmtID4Fbim6DEwlQpWrt1KAios6Sf-mu4fyo3zkK2fRH1b2znjNYPRvKWXTNAMStEVUxydjbm31uMmVtpTlsRZDQ6o3_5WT7ltKXijp9VrtEpKmmQIKp7rspnYF1BK9/s1600/moors10bleu-lectoure-vierge-noire.jpg" /></a></div>
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A Black Madonna, also a symbol of Black superiority. Another clue that the European Elite identified as Black. Their elevation in 1100-1200 began with Black religious imagery. When they were defeated with the French Revolutions these were destroyed. And in 1848 when whites were finally emancipated, they changed the portraits to white.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0Fx45lwT6FMslUKOnwsS-_wZu781kpgNXt2QLUSSVE5g7lzlxFxhVDAqTNMsKDPbg8rhHLjiNFHLBK_6wE-e0toyoLdkYyttBTo1kENy9zW-5ZwRM1OzQJs_C31EmtwNtqxl_rzka7J6P/s1600/moors11550w_cosmo_simon_webbe.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0Fx45lwT6FMslUKOnwsS-_wZu781kpgNXt2QLUSSVE5g7lzlxFxhVDAqTNMsKDPbg8rhHLjiNFHLBK_6wE-e0toyoLdkYyttBTo1kENy9zW-5ZwRM1OzQJs_C31EmtwNtqxl_rzka7J6P/s320/moors11550w_cosmo_simon_webbe.jpg" width="225" /></a></div>
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Simon Webbe</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhx0BzLa7vqroB3ms06l0YHneS0ytYM_kKXB64Mep-Kmv4RF_P140zzwfc4q0gvhRzROvNKEaLMb-kJ2sze4nsen0ZfpjIx2AWjuwBo4pzejmPwgceqaLKuA_TsmvIP8FV-Cb8M0z4a0L3Q/s1600/moors12rock_184_1_6350.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="209" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhx0BzLa7vqroB3ms06l0YHneS0ytYM_kKXB64Mep-Kmv4RF_P140zzwfc4q0gvhRzROvNKEaLMb-kJ2sze4nsen0ZfpjIx2AWjuwBo4pzejmPwgceqaLKuA_TsmvIP8FV-Cb8M0z4a0L3Q/s320/moors12rock_184_1_6350.jpg" width="320" /></a></div>
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Young Moroccans</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8YPAf0Xo2Mc6QJAmjhMvGvDLDjG6w8wZwvverLPZIY5yviPR-J0tGYIjaIoJpBiZkcvVJ13qqd9hMYQCO1C2HhA9t5ZHvu0Om97Y4Dil55esiwclEbeEEZnRb3H2GEsx3g8YfauV3VK2x/s1600/moors13thCANGXY4I.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8YPAf0Xo2Mc6QJAmjhMvGvDLDjG6w8wZwvverLPZIY5yviPR-J0tGYIjaIoJpBiZkcvVJ13qqd9hMYQCO1C2HhA9t5ZHvu0Om97Y4Dil55esiwclEbeEEZnRb3H2GEsx3g8YfauV3VK2x/s1600/moors13thCANGXY4I.jpg" /></a></div>
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Heraldic crest with a Moor.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKDXUp9Zs9_7PHan1umEpeoRgORuofjCKL72KS77nRzu9gehi97XmMm_kMIOhnrmfGKm81eebKY0qD-RpV7ViT_8bqrfITiME1BaJBMqXwax3jBHJuSR0407UzRJefJZBNcWYatZ94Yz9H/s1600/Moors14othello_7_lg.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKDXUp9Zs9_7PHan1umEpeoRgORuofjCKL72KS77nRzu9gehi97XmMm_kMIOhnrmfGKm81eebKY0qD-RpV7ViT_8bqrfITiME1BaJBMqXwax3jBHJuSR0407UzRJefJZBNcWYatZ94Yz9H/s320/Moors14othello_7_lg.gif" width="229" /></a></div>
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Old image of Othello, The Mooor of Venice, the most famous literary Moor</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1rf2b6D7AnEXXc6BvHbmyvynB1ODCilNJaHCUcGgqPdG98pXPxLfIFKoPdhunDlN0LbnmYwBBaLmw9VjyObcPI7lH_iklft4tejXgAitpXSD6ToCBwT6XrUBK9sWq_TyuPgyDblAOYnJm/s1600/MoorsHeadCoatOfArm_jpg_w560h468.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="267" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1rf2b6D7AnEXXc6BvHbmyvynB1ODCilNJaHCUcGgqPdG98pXPxLfIFKoPdhunDlN0LbnmYwBBaLmw9VjyObcPI7lH_iklft4tejXgAitpXSD6ToCBwT6XrUBK9sWq_TyuPgyDblAOYnJm/s320/MoorsHeadCoatOfArm_jpg_w560h468.jpg" width="320" /></a></div>
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The Papal crest of Pope Benedict. Typically no explanation was supplied for the Moorhead.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1ZJ_YBgZ4jzrF4lpGUG-5D-l1RW__0QdAxyobnjF7iQ4qxSsCtu1S7iVqlvV0r74QjOT-OE8UzzADUaYLOUoVYaz3oA-pmwu-q9P2VujZNd9_HlI042SHVXQfJy4uZg3QFLjfQXaUb_mf/s1600/moors9MAU01_0429_W.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1ZJ_YBgZ4jzrF4lpGUG-5D-l1RW__0QdAxyobnjF7iQ4qxSsCtu1S7iVqlvV0r74QjOT-OE8UzzADUaYLOUoVYaz3oA-pmwu-q9P2VujZNd9_HlI042SHVXQfJy4uZg3QFLjfQXaUb_mf/s320/moors9MAU01_0429_W.jpg" width="294" /></a></div>
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Maria Henrietta Stuart, married Dutch Stadhouder Wiliam II. She was a sister of Charles II Stuart, called The Black Boy. This is a whitened portrait, with a heraldic Moor who offers her pearls. She is wearing a brazilian coat of feathers and an eastern headdress.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikW5CxXCS3sg2iAB54aHNxOjoEfEtWoRYIGN7nCHsY1OjP-YU19b4qMMWDCUIhyn_NKZIlTgQ7fFAZ6sseFvHrfsj6EOIhNybLd65OF654konH1vXlJjno_l7NMTvxnJCxie52yOF6QjIE/s1600/moors7.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikW5CxXCS3sg2iAB54aHNxOjoEfEtWoRYIGN7nCHsY1OjP-YU19b4qMMWDCUIhyn_NKZIlTgQ7fFAZ6sseFvHrfsj6EOIhNybLd65OF654konH1vXlJjno_l7NMTvxnJCxie52yOF6QjIE/s1600/moors7.jpg" /></a></div>
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A Moor</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjKS2GjpLQvnDOVdSCeSJUg4aRL6D6Wj61l2dtAkpHLps34EU9Msh6FEQyNFw1eSDwkso9KeXFYx7L_H6-hhqY42dTSZW5kIeFCoUVupZfkVA09CNrK4TzafMkOf_ena7u7g4woKEa9QZo/s1600/moors6djimon-hounsou.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjKS2GjpLQvnDOVdSCeSJUg4aRL6D6Wj61l2dtAkpHLps34EU9Msh6FEQyNFw1eSDwkso9KeXFYx7L_H6-hhqY42dTSZW5kIeFCoUVupZfkVA09CNrK4TzafMkOf_ena7u7g4woKEa9QZo/s320/moors6djimon-hounsou.jpg" width="216" /></a></div>
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Djimoun Hounsou</div>
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A Moor, the blackest classical African with frizzled hair. Often bleu-ish in colour. Hence blue blood.</div>
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The Drake Jewel: a Moor dominates a profile of a white woman, symbolising Black superiority.</div>
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Inside a portrait of Elizabeth I given to her friend Sir Drake, who commisioned the jewel case.</div>
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Candelabrum given to Maria de Medici as a wedding gift, with the same Black Superiority symbol.</div>
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She married Henry II and was the mother of Louis XIII. Her daughter Henrietta de Bourbon was the mother of King Charles II Stuart.</div>
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Egmond Codfriedhttp://www.blogger.com/profile/10597005835134961469noreply@blogger.com0tag:blogger.com,1999:blog-1401624891557825179.post-12753264790107603722013-08-14T08:55:00.003-07:002013-09-03T07:22:28.457-07:00<h2 style="text-align: center;">
SURINAME; HISTORICAL AND OTHER PORTRAITS OR IMAGES, AND INFORMATION CONNECTED TO THE SURINAME HISTORY</h2>
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The national banner of Suriname</div>
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The Marrons</div>
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The national, heraldic crest.</div>
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The lush, tropica, primary jungle, quite empty and wholly unspoiled.<br />
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The Surinam map, with the Van Blommesteyn Stuwmeer, for hydro-electricity.</div>
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<span class="mw-headline" id="Westelijke_grens">Westelijke grens</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="http://nl.wikipedia.org/w/index.php?title=Grenzen_van_Suriname&action=edit&section=2" title="Bewerk dit kopje: Westelijke grens">bewerken</a><span class="mw-editsection-bracket">]</span></span></h2>
De westelijke grens van Suriname werd vroeger aangewezen door een paal, halverwege tussen de <a href="http://nl.wikipedia.org/wiki/Corantijn" title="Corantijn">Corantijn</a> en de Berbice geplaatst, ingevolge een overeenkomst tussen <a href="http://nl.wikipedia.org/wiki/Cornelis_van_Aerssen_van_Sommelsdijck" title="Cornelis van Aerssen van Sommelsdijck">Cornelis van Aerssen van Sommelsdijck</a> en <a class="new" href="http://nl.wikipedia.org/w/index.php?title=Abraham_van_Pere&action=edit&redlink=1" title="Abraham van Pere (de pagina bestaat niet)">Abraham van Pere</a>. Later werd als grensscheiding aangenomen een lijn lopende Z.t.W. door de mond van de <a class="new" href="http://nl.wikipedia.org/w/index.php?title=Duivelskreek&action=edit&redlink=1" title="Duivelskreek (de pagina bestaat niet)">Duivelskreek</a> in het tegenwoordige <a href="http://nl.wikipedia.org/wiki/Berbice" title="Berbice">Berbice</a>. In 1799 sloten de Gouverneurs <a href="http://nl.wikipedia.org/wiki/Jurriaan_Fran%C3%A7ois_de_Friderici" title="Jurriaan François de Friderici">De Friderici</a> van Suriname en <a href="http://nl.wikipedia.org/wiki/Abraham_Jacob_van_Imbijze_van_Batenburg" title="Abraham Jacob van Imbijze van Batenburg">Van Batenburg</a> van <a href="http://nl.wikipedia.org/wiki/Berbice" title="Berbice">Berbice</a>—beide koloniën waren toen in <a href="http://nl.wikipedia.org/wiki/Verenigd_Koninkrijk" title="Verenigd Koninkrijk">Britse</a> handen—een overeenkomst waarbij het land bewesten de Corantijn aan Berbice werd afgestaan en de de Corantijn de grens werd, met dien verstande dat de eilanden in de rivier en de post <a href="http://nl.wikipedia.org/wiki/Oreala" title="Oreala">Oreala</a> op de westoever tot Suriname bleven behoren. De gehele Corantijnrivier bleef dus onder Suriname vallen.<sup class="reference" id="cite_ref-5"><a href="http://nl.wikipedia.org/wiki/Grenzen_van_Suriname#cite_note-5">[5]</a></sup> Bij de <a href="http://nl.wikipedia.org/wiki/Vrede_van_Amiens" title="Vrede van Amiens">Vrede van Amiens</a> in 1802 werden Suriname, Berbice, <a href="http://nl.wikipedia.org/wiki/Demerary" title="Demerary">Demerary</a> en <a href="http://nl.wikipedia.org/wiki/Essequebo_(kolonie)" title="Essequebo (kolonie)">Essequebo</a> aan Nederland teruggegeven, maar zij bleven niet lang onder Nederlands bestuur. In september 1803 gingen Berbice, Demerary en Essequebo weer in Britse handen over, en zijn nooit meer van Nederland geweest; Suriname werd in april 1804 bij verdrag aan de Britten overgegeven en bleef tot 1816 in hun handen. Bij het <a href="http://nl.wikipedia.org/wiki/Verdrag_van_Londen_(1814)" title="Verdrag van Londen (1814)">Verdrag van Londen</a> gesloten op 13 augustus 1814, bekrachtigd door de <a href="http://nl.wikipedia.org/wiki/Verdrag_van_Parijs_(1815)" title="Verdrag van Parijs (1815)">Vrede van Parijs</a> van 20 november 1815, werd Suriname aan Nederland teruggegeven, zoals het was op 1 januari 1803, dat is met de Corantijn tot westelijke grens.<br />
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<span class="mw-headline" id="Tigri-gebied">Tigri-gebied</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="http://nl.wikipedia.org/w/index.php?title=Grenzen_van_Suriname&action=edit&section=3" title="Bewerk dit kopje: Tigri-gebied">bewerken</a><span class="mw-editsection-bracket">]</span></span></h3>
<table style="font-size: 95%; margin-bottom: 0.1em; margin-left: 2em; margin-top: 0.1em; padding: 2px; text-align: left;"><tbody>
<tr><td><a class="image" href="http://commons.wikimedia.org/wiki/File:Nuvola_single_chevron_right.svg"><img alt="Nuvola single chevron right.svg" height="15" src="http://upload.wikimedia.org/wikipedia/commons/thumb/e/e2/Nuvola_single_chevron_right.svg/15px-Nuvola_single_chevron_right.svg.png" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/e/e2/Nuvola_single_chevron_right.svg/23px-Nuvola_single_chevron_right.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/e/e2/Nuvola_single_chevron_right.svg/30px-Nuvola_single_chevron_right.svg.png 2x" width="15" /></a> <i>Zie <a href="http://nl.wikipedia.org/wiki/Tigri-gebied" title="Tigri-gebied">Tigri-gebied</a> voor het hoofdartikel over dit onderwerp.</i></td></tr>
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<a class="internal" href="http://nl.wikipedia.org/wiki/Bestand:Boundary_lines_of_British_Guiana_1896.jpg" title="Vergroten"><img alt="" height="11" src="http://bits.wikimedia.org/static-1.22wmf12/skins/common/images/magnify-clip.png" width="15" /></a></div>
De grenzen van Brits Guiana na de expeditie van Schomburgk. De grens met Suriname langs de Koeroeni wordt hier nog als onbetwist aangegeven.</div>
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Van de bovenloop van de rivier wist men echter niets. In 1843 ondernam <a href="http://nl.wikipedia.org/wiki/Robert_Schomburgk" title="Robert Schomburgk">Robert Schomburgk</a>, op last van de Britse regering, een verkenningstocht in <a class="mw-redirect" href="http://nl.wikipedia.org/wiki/Brits_Guiana" title="Brits Guiana">Brits Guiana</a>, waarbij hij, van het brongebied uit, een van de bronrivieren afvoer en daarna de gehele rivier tot aan haar monding. Hoewel hier van een behoorlijke exploratie geen sprake was, hield men de opneming van Schomburgk en de door hem vervaardigde kaart voor juist, totdat in 1871 <a class="new" href="http://nl.wikipedia.org/w/index.php?title=Charles_Barrington_Brown&action=edit&redlink=1" title="Charles Barrington Brown (de pagina bestaat niet)">Charles Barrington Brown</a> de rivier opnieuw onderzocht en de <a href="http://nl.wikipedia.org/wiki/Nieuwe_rivier" title="Nieuwe rivier">Nieuwe rivier</a> (Boven-Corantijn) ontdekte, die, volgens zijn opmetingen, de voortzetting van de hoofdrivier is. Van dat ogenblik af bestond er dus discussie omtrent de westelijke grens van de kolonie.<br />
Op 4 oktober 1899 deed een scheidsgerecht uitspraak in het grensgeschil tussen Venezuela en Brits Guiana en liet zich—zijn mandaat overschrijdende—incidenteel uit over de vraag of de <a href="http://nl.wikipedia.org/wiki/Koetari" title="Koetari">Koetari</a>-<a class="mw-redirect" href="http://nl.wikipedia.org/wiki/Koeroeni" title="Koeroeni">Koeroeni</a> dan wel de New River de grens was tussen Brits Guiana en Suriname. De Nederlandse regering deelde daarop aan de Britse mede zich niet gebonden te achten door deze incidentele uitspraak.<br />
In 1936 werd een gemengde commissie ingesteld om de grens tussen Brits Guiana en Suriname vast te stellen. De commissie stelde dat Nederland soevereiniteit bezat over de gehele breedte van de Corantijn, maar gaf het Tigri-gebied aan het Verenigd Koninkrijk. Het verdrag dat de bevindingen van de gemengde commissie rechtsgeldig moest maken werd door de aanvang van de <a href="http://nl.wikipedia.org/wiki/Tweede_Wereldoorlog" title="Tweede Wereldoorlog">Tweede Wereldoorlog</a> echter niet ratificiceerd.<sup class="reference" id="cite_ref-6"><a href="http://nl.wikipedia.org/wiki/Grenzen_van_Suriname#cite_note-6">[6]</a></sup> Ook in 1936 ondertekende de Nederlandse vertegenwoordiger <a href="http://nl.wikipedia.org/wiki/Conrad_Carel_K%C3%A4yser" title="Conrad Carel Käyser">Conrad Carel Käyser</a>, aangesteld om de grens tussen Suriname en Brazilië te bepalen, samen met Britse en Braziliaanse vertegenwoordigers een kaart met het drielandenpunt op de plaats van de <a href="http://nl.wikipedia.org/wiki/Koetari" title="Koetari">Koetarigrens</a>.<sup class="reference" id="cite_ref-7"><a href="http://nl.wikipedia.org/wiki/Grenzen_van_Suriname#cite_note-7">[7]</a></sup><br />
Toen in 1961 opnieuw onderhandelingen werden opgestart weigerde Nederland zich neer te leggen bij Britse positie die was gebaseerd op de bevindingen van de gemengde commissie van 1936, en bracht daarentegen het tegenvoorstel ter tafel waarin de Corantijn via het <a href="http://nl.wikipedia.org/wiki/Talweg" title="Talweg">talwegprincipe</a> werd verdeeld, maar waarbij het Tigri-gebied bij Suriname werd ingedeeld, en dus overeenkomstig normale internationale grenzen. Deze positie over de soevereiniteit over de Corantijn is na de onafhankelijkheid nooit herhaald door de Surinaamse overheid en vormt de basis voor Guyanese claims op een deel van de rivier.<sup class="reference" id="cite_ref-8"><a href="http://nl.wikipedia.org/wiki/Grenzen_van_Suriname#cite_note-8">[8]</a></sup><br />
In 1969 dreigde het conflict uit de hand te lopen toen op 19 augustus grensgevechten oplaaiden tussen Guyaanse troepen en Surinaamse milities. In 1971 verklaarden Suriname en Guyana zich bereid om hun troepen uit het gebied terug te trekken.<sup class="reference" id="cite_ref-Donovan_62_9-0"><a href="http://nl.wikipedia.org/wiki/Grenzen_van_Suriname#cite_note-Donovan_62-9">[9]</a>"</sup><br />
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<sup class="reference">bron: Wikipedia, Grenzen van Suriname</sup><br />
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Paramaribo</div>
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Paramaribo<br />
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Native Surinams<br />
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Type of large frog</div>
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Kotomissie in historical dress</div>
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Javanese immigrants</div>
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Colorful fauna</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjLIr00VdV6ffDNACP613j1uY49PnJjVxIuEd9OG5QXpz8NgwmYBCTN-08J7L35mrE-C36LxKoPK_mye08w9Rfl-2B3it4BQvzV156EUArma_QQvDTt1S8NlQwk20yyXm7GSUYPIgpxb0N/s1600/s13.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjLIr00VdV6ffDNACP613j1uY49PnJjVxIuEd9OG5QXpz8NgwmYBCTN-08J7L35mrE-C36LxKoPK_mye08w9Rfl-2B3it4BQvzV156EUArma_QQvDTt1S8NlQwk20yyXm7GSUYPIgpxb0N/s1600/s13.jpg" /></a></div>
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Hindustani beauty queens<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjeDj4fJD3fxnbuuGh7ZBgweWNLEus9mQ2txDc3ZggSVELKDcL7eqk3d9IR1D-vLSFooHouFw3Auhl1gyopHbHTtB-Kv0PbBkMmMMHw0US61HZqAcz-3EKeSH15IO_WIE3za-K3WL7TACM/s1600/s14.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjeDj4fJD3fxnbuuGh7ZBgweWNLEus9mQ2txDc3ZggSVELKDcL7eqk3d9IR1D-vLSFooHouFw3Auhl1gyopHbHTtB-Kv0PbBkMmMMHw0US61HZqAcz-3EKeSH15IO_WIE3za-K3WL7TACM/s1600/s14.jpg" /></a></div>
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Extensive fauna</div>
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Chinese tv food show personality<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDUbzPxR-8MAAMP9WnAFkS_Qa4bBTLDbHni449EBXrddHOX2NMkgsFcaPxBxXctdMfQXytcqvr66No_80m1krcSWsbtqViPpOkxV40Ob98OPBGi6V-n5m74zJRVwDEbsZwaxtek9M_qabs/s1600/s17.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDUbzPxR-8MAAMP9WnAFkS_Qa4bBTLDbHni449EBXrddHOX2NMkgsFcaPxBxXctdMfQXytcqvr66No_80m1krcSWsbtqViPpOkxV40Ob98OPBGi6V-n5m74zJRVwDEbsZwaxtek9M_qabs/s1600/s17.jpg" /></a></div>
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The wooden Cathedral</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSfS23z61k-oiNW7X_ypBot-M14QON3SkxHtUtofDNYco-6JhwmSG0mRVszzLDp0-UUU0bCizMKPwYfMBzT-eM048pEh_oHl7IhgICKLcaZjL4ZZYSNHMpivhTVGmIbbBVdKnMz8-jOHFL/s1600/s18.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSfS23z61k-oiNW7X_ypBot-M14QON3SkxHtUtofDNYco-6JhwmSG0mRVszzLDp0-UUU0bCizMKPwYfMBzT-eM048pEh_oHl7IhgICKLcaZjL4ZZYSNHMpivhTVGmIbbBVdKnMz8-jOHFL/s1600/s18.jpg" /></a></div>
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The Dutch and Belgien stagiares.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg48QjC0ZmwlqUHZsdQ_Q7dUu9EkcMoGkQkMzB3zkgOFaHS3LkChybFWr3tq5QPT0ezVbxCSvx7wdoxr6ZgZ1kALZ5KyAAZJ9xEmpLRgagd30g6nTVkahNUWKU_u_3y096E_uL84cfaJgYp/s1600/s18.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg48QjC0ZmwlqUHZsdQ_Q7dUu9EkcMoGkQkMzB3zkgOFaHS3LkChybFWr3tq5QPT0ezVbxCSvx7wdoxr6ZgZ1kALZ5KyAAZJ9xEmpLRgagd30g6nTVkahNUWKU_u_3y096E_uL84cfaJgYp/s1600/s18.jpg" /></a></div>
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Colored historical elite</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiya57SwVnSIrZQE4uPXSaf_kLvLmW8VfLXXI9qxRPtxpevCznvzq-pg9zwqmmewFrbMPyfXy3Faq0wUVMkv1V0Vi6_CRjhAr6_6X9OSOc3aIBYI6Wy-NpCITkK9rVqiH1YDE1qs0Yub0OO/s1600/s20.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiya57SwVnSIrZQE4uPXSaf_kLvLmW8VfLXXI9qxRPtxpevCznvzq-pg9zwqmmewFrbMPyfXy3Faq0wUVMkv1V0Vi6_CRjhAr6_6X9OSOc3aIBYI6Wy-NpCITkK9rVqiH1YDE1qs0Yub0OO/s1600/s20.jpg" /></a></div>
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Jan Wicherides, natural son of governor Wichers, by a former enslaved woman</div>
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Un-retouched portrait of a member of the Van Aerssen family. Now he is whitened after 'restoration' after 1934, claiming the paint had 'darkened.' the familie was black and brown of complexion. a member described as 'black as chimney'and the family called 'swarthy'.(zwart, schwarze)</div>
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A cousin of governor De Friderici, son of a former enslaved woman.</div>
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A whitened portrait.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUfTQX55h7tY2YL1oUuAhG52xWGA2YXoJZDpaSmncLjBNSMDIlwz_013h_9VFHKnaH3qAjMPvbyCmyWhai-udtClUUyrf9vPxXpgnRxtAJYqjeKiRNe9JjrDCWFu_uHk6m9t2kRPZNwatA/s1600/s24.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="260" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUfTQX55h7tY2YL1oUuAhG52xWGA2YXoJZDpaSmncLjBNSMDIlwz_013h_9VFHKnaH3qAjMPvbyCmyWhai-udtClUUyrf9vPxXpgnRxtAJYqjeKiRNe9JjrDCWFu_uHk6m9t2kRPZNwatA/s320/s24.jpg" width="320" /></a></div>
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William I of Orange (1533-1584) and his second wife: Anne of Saxony. He was described as 'more brown then white' and 'brown of complexion and the beard.' The Orange family was brown and black of complexion and showed way into the 20th century classical African facila traits.</div>
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My play Maria Susanna Du Plessis (1749-1795), a mix of history and fiction, to highlight the republican independence movement 1742-1753. Part of her bad reputation might be linked too the fact her father was a spokesperson for this revolutionary movement.<br />
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The Orange family: the brown and black complexioned, Black Dutch royal family</div>
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A display panel in the Suriname Blue Blood is Black Blood Museum</div>
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Johan van der Werff, whitened portrait, the cousin of Maria Susanna Du Plessis, in Utrecht. He shows classical African facial traits while his ancestors are all bourgeois Europeans. Maria Susanna du Plessis would be considered today a Black woman.</div>
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By Van Maris, A Surinam woman Allwood or Alting? As a girl brown, as a grown woman whitened.</div>
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Cordua, from Meclenburg, slave master of the Codfried slaves, traveller and writer</div>
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Anne of Hannover, dowager of Stadhouder Willem IV. Had to interven in the 1742-1753 republican uprising. Was a sister of George III of Brittain. dark engraving after a painted portrait now whitened, restored.</div>
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Pierre-alexander Du Peyrou, Surinamese, slave owner, writer and friend of Rousseau. He subsidized Rousseau with his earnings from slave labour, and was the first to publish Rousseau. He was described by Rousseau as 'dark brown.'(Son teint basané) His city place can still be visited in Neufchateau. He was a friend and editor of Isabelle de Charriere, and a writer in his own right. A surinamese financed Rousseau, the greatest philosopher of the Enlightenment and the French Revolution.</div>
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J.J.Rousseau, described by his follower James Boswell: 'A genteel black man in an Armenian coat.'The coat was used to camouflage a permanent catheder for his urinatory condition. all the philosophers of the Enlightenment were members of the bourgeoisie, and were brown and black of complexion.The bourgeoisie hated the nobility, and the nobility looked equally down on the bourgeosie and the whites, who were the serfs.<br />
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King Charles II Stuart licensed a British man to find a colony in Suriname.</div>
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He was called the Black Boy, and described in a wanted poster as A tall black man.</div>
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A striking black engraving after a now whitened painted portrait.</div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;">This is the Sack Dress or the Robe á lá </span><span lang="FR" style="mso-ansi-language: FR;">Française</span><span lang="EN-US" style="mso-ansi-language: EN-US;"> our 18th century ancestors wore.<o:p></o:p></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;">Its the most formal dress, for every day they
had more simple styles. This dress required a corset, and two joined wicker
baskets to widen the skirt. It was a skirt, a corset or bodice, covered in from
with a piece of fabric, with decorations, and next the over dress, with lace on
the sleeves. It was light and not hot. It gave the women an illusion of a
narrow waist, and the ladies of the French court took little steps, so it
looked as if they glided. Men wore an equally ornamented style of coat of silk,
a vest, a lace decorated linen shirt, and tight half breeches, and silk
stockings. Often high heeled shoes. The men were equally colorful as the women.
They wore a wig, which was powdered, and wore make-up.<o:p></o:p></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;"><span style="mso-spacerun: yes;"> </span>1. 200 years a kingdom: portraits of the
brown and black complexioned, black Dutch royal house of Orange-Nassau
(1533-2013)<o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">Codfried,
Egmond / Suriname Blue Blood is Black Blood Museum / 2013 <o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
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<span style="font-family: Calibri;"><span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="mso-spacerun: yes;"> </span>2. Badal, or, The suicide of a reformed
housenigger </span><span lang="EN-US" style="mso-ansi-language: EN-US; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;">(CAN BE READ ONLINE)</span><span lang="EN-US" style="mso-ansi-language: EN-US;"><o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">Codfried,
Egmond / Codfried / 2012 <o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;"><span style="mso-spacerun: yes;"> </span>3. Was Jane Austen black?<o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">Codfried,
Egmond / 1st ed / Codfried / 2011 <o:p></o:p></span></span></div>
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<span style="font-family: Calibri;"><span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="mso-spacerun: yes;"> </span>4. Will there be another Holocaust? </span>=
Komt er weer een Holocaust?<span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"> </span><span lang="EN-US" style="mso-ansi-language: EN-US; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;">(CAN BE READ ONLINE)</span><o:p></o:p></span></div>
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<span style="font-family: Calibri;">Codfried, Egmond / Codfried / 2010 <o:p></o:p></span></div>
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<span style="font-family: Calibri;"><span style="mso-spacerun: yes;"> </span>5. Blue blood is
black blood : the iconographical proof of a dominating black and colored
European race who were a noble and royal elite (1500-1789) = Blauw bloed is
zwart bloed : het iconografisch bewijs van een dominerende zwarte en gekleurde
Europese natie die een adellijke en koninklijke elite was (1500-1789)<o:p></o:p></span></div>
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<span style="font-family: Calibri;">Codfried, Egmond / Codfried / [2009] <o:p></o:p></span></div>
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<span style="font-family: Calibri;"><span style="mso-spacerun: yes;"> </span>6. De vijand van de
Neeger<o:p></o:p></span></div>
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<span style="font-family: Calibri;">Codfried, Egmond / Codfried / 2006-... <o:p></o:p></span></div>
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<span style="font-family: Calibri;"><span style="mso-spacerun: yes;"> </span>7. De vijand van de
Neeger ; Dl. 1: Ongeediteerde correspondentie en columns 2004-2006<o:p></o:p></span></div>
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<span lang="DE" style="mso-ansi-language: DE;"><span style="font-family: Calibri;">Codfried, Egmond
/ 1e dr / Codfried / 2006 <o:p></o:p></span></span></div>
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<span lang="DE" style="mso-ansi-language: DE;"><span style="font-family: Calibri;"><span style="mso-spacerun: yes;"> </span>8. Carmelita, Carmen!<o:p></o:p></span></span></div>
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<span lang="DE" style="mso-ansi-language: DE;"><span style="font-family: Calibri;">Codfried, Egmond
/ 1e dr / Codfried / 2006 <o:p></o:p></span></span></div>
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<span lang="DE" style="mso-ansi-language: DE;"><span style="font-family: Calibri;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
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<span lang="DE" style="mso-ansi-language: DE;"><span style="font-family: Calibri;"><span style="mso-spacerun: yes;"> </span>9. Maria Susanna Du Plessis (1739-1795) :
dader of slachtoffer?<o:p></o:p></span></span></div>
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<span lang="DE" style="mso-ansi-language: DE;"><span style="font-family: Calibri;">Codfried, Egmond
/ 8e bew. dr / Codfried / 2005 <o:p></o:p></span></span></div>
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<span lang="DE" style="mso-ansi-language: DE;"><span style="font-family: Calibri;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
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<span style="font-family: Calibri;"><span lang="DE" style="mso-ansi-language: DE;"><span style="mso-spacerun: yes;"> </span></span>10. Belle van Zuylen's vergeten oma:
Maria Jacoba van Goor (1687-1737) : een beknopte studie over zwarten en
kleurlingen in Europa en Nederland door de eeuwen heen<o:p></o:p></span></div>
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<span lang="DE" style="mso-ansi-language: DE;"><span style="font-family: Calibri;">Codfried, Egmond
/ 1e verb. dr / Codfried / 2005 <o:p></o:p></span></span></div>
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<span lang="DE" style="mso-ansi-language: DE;"><span style="font-family: Calibri;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
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<span lang="DE" style="mso-ansi-language: DE;"><o:p><span style="font-family: Calibri;"> </span></o:p></span></div>
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<span style="font-family: Calibri;"><span style="mso-spacerun: yes;"> </span>11. Belle van
Zuylen's vergeten oma: Maria Jacoba van Goor (1687-1737) : een beknopte studie
over zwarten en kleurlingen in Europa en Nederland door de eeuwen heen<o:p></o:p></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">Codfried,
Egmond / Codfried / 2004 <o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;"><span style="mso-spacerun: yes;"> </span>12. Maria Susanna Du Plessis (1739-1795) :
dader of slachtoffer?<o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">Codfried,
Egmond / 4e bew. dr / Egmond Codfried / cop. 2003 <o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
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Egmond Codfriedhttp://www.blogger.com/profile/10597005835134961469noreply@blogger.com0tag:blogger.com,1999:blog-1401624891557825179.post-18656849475911892172013-08-14T08:47:00.001-07:002013-08-19T05:08:27.721-07:00<h2 style="text-align: center;">
NOT ALL PORTRAITS WERE RESTORED TO MAKE THEM LOOK WHITE</h2>
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De Medici</div>
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dorothea of Denmark, a niece of Charles V Habsburg, a miniature</div>
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Composer Bernd Haydn</div>
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Nibbs, an abolishonist</div>
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Murat, brother-in-law of Napoleon, King of Naples</div>
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Benjamin Franklin, American Founding Father.</div>
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The US elite were connected to the European bourgeoisie and like them, brown and black of complexion, yet calling themselves whites: for political reasons, as they opposed noble rules, by nobles who identified as Black.</div>
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A painter</div>
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Oldest image of Jesus. The symbolism is Black superiority in Greece or Rome, in the Early christian Era. The actual looks of Jesus were not known, nor was this the object of making this image.</div>
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Greece and Rome were Black Civilizations, the whites were the Barbarians and plebeians.</div>
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The European civilizations were whitened after 1848 when the whites were emancipated.</div>
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Egmond Codfriedhttp://www.blogger.com/profile/10597005835134961469noreply@blogger.com0tag:blogger.com,1999:blog-1401624891557825179.post-85762492793567339362013-08-14T08:39:00.004-07:002013-08-31T03:41:47.693-07:00<h2 style="text-align: center;">
BLACK MADONNA'S ARE SYMBOLS OF BLACK SUPERIORITY IN EUROPE</h2>
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The noble elite (1100-1848) was brown and black of complexion and self-identified as Black, with heraldic Moors and Black Madonna's who had classical African facial traits. Many Black Madonna's today are copies of statuettes that were destroyed around the French Revolution (1789-1794). They were rightly perceived as symbols of the hated Ancien Regime. Racism was invented as a liberation ideology against the nobility (1760), while the equally brown and black complexioned bourgeoisie identified as (black) Caucasian, to make a political alliance with the white majority. Race is a social construct. After the French Revolution, they deceived the whites, who had to fight on till 1848 to get equality during the Final Revolutions. Then they altered all portraits of the brown and black faced Ancien regime to white with beige and pink over paint.<br />
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<span style="font-size: x-small;"><strong>From the researches of Ella Rozett @ </strong></span><a href="http://www.interfaithmarianpilgrimages.com/pages/blackmadonna.html" target="_blank"><span style="font-size: x-small;"><strong>Index of Black Maodnnas Worldwide</strong></span></a><br />
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<strong><span style="font-size: x-small;"><img alt=" - " src="http://www.interfaithmarianpilgrimages.com/images/Our%20Lady%20of%20Good%20Deliverance.jpg" /><br />Our
Lady of Good Deliverance,<br />Neuilly near Paris, 14th C.<br />variation on 11th C.
original<br /><br /><br /><img alt=" - " src="http://www.interfaithmarianpilgrimages.com/media/images/St.-Gervazy.jpg" /><br />Romanesque
Madonna of Chastreix, <br />Puy-de-Dome, France <br />Photo: Francis
Debaisieux<br /><br /><br /><img alt=" - " src="http://www.interfaithmarianpilgrimages.com/media/images/Madonna_nera_notre_dam.gif" /><br />Our
Lady of Meymac, <br />France, 12th century<br /><br /><br /><img alt=" - " src="http://www.interfaithmarianpilgrimages.com/media/images/le-puy-scanned2.jpg" /><br />Our
Lady of Le Puy <br />photo: Francis Debaisieux<br />France, reproduction, because
<br />the original was burnt during <br />the revolution, like witches on <br />public
execution pyres, to cries <br />of: <i>"Death to the
Egyptian!"</i><br /><br /><br /><img alt=" - " src="http://www.interfaithmarianpilgrimages.com/images/notre%20dame%20de%20la%20bonne%20mort.jpg" /><br />Our
Lady of the Good Death (Notre Dame de la Bonne Mort), <br />12th century,
Clermont-Ferrand, France, <br />discovered in 1972 in the mortuary chapel of a
bishop. </span></strong>Egmond Codfriedhttp://www.blogger.com/profile/10597005835134961469noreply@blogger.com0tag:blogger.com,1999:blog-1401624891557825179.post-83983370497051838462013-08-14T07:35:00.001-07:002013-08-26T07:36:40.843-07:00<h2 style="text-align: center;">
FLAYING</h2>
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Live flaying and the use of skins of whites as shoe leather I consider key to understanding whites, and how they perceive Blacks. Yet these wrongs by the brown and black complexioned European elite of nobles and bourgeoisie, since the Greek and Roman times: was set right in 1848. Whites were emancipated and men were given general suffrage. They then had all portraits of the Ancien Regime altered, claiming the paint had darkened. Whites want to believe themselves superior to Blacks, and need to hide the fact that Europe was civilized by brown and black Europeans.</div>
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Public execution of a corrupt judge</div>
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St.Bartholomey</div>
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Book bound in human leather</div>
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St. Bartholomey: his face and skin are whitened</div>
<div style="text-align: center;">
</div>
<div style="text-align: center;">
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 8pt; line-height: 115%;"><o:p> </o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 8pt; line-height: 115%;"><o:p> </o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 8pt; line-height: 115%;"><o:p> </o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 8pt; line-height: 115%;">[img]http://www.stepbystep.com/wp-content/uploads/2013/04/Top-10-Most-Harsh-Brutal-Punishments-in-the-World1.jpg<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 8pt; line-height: 115%;">[img]http://uploads2.wikipaintings.org/images/gerard-david/the-flaying-of-the-corrupt-judge-sisamnes-1498.jpg[/img]<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 8pt; line-height: 115%;"><o:p> </o:p></span><span style="font-family: "Garamond","serif"; font-size: 8pt; line-height: 115%;">[img]http://www.art-prints-on-demand.com/kunst/noartist/g/giordano__flaying_of_marsyas.jpg[/img]<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 8pt; line-height: 115%;"><o:p> </o:p></span><span style="font-family: "Garamond","serif"; font-size: 8pt; line-height: 115%;">[img]http://www.nature.com/ki/journal/v57/n3/images/4491441f3.gif[/img]<o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 8pt; line-height: 115%;"><o:p> </o:p></span><span style="font-family: "Garamond","serif"; font-size: 8pt; line-height: 115%;">[img]http://m5.i.pbase.com/o4/93/329493/1/91297485.1YhVuShZ.SpainOct07270.jpg[/img]<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 8pt; line-height: 115%;"><o:p> </o:p></span><span style="font-family: "Garamond","serif"; font-size: 8pt; line-height: 115%;">[img]http://www.alephnaught.com/Travel/Italian2009/Images/Florence/Day4/MuseoFlayingAlive.jpg[/img]<o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 8pt; line-height: 115%;"><o:p> </o:p></span><span style="font-family: "Garamond","serif"; font-size: 8pt; line-height: 115%;">[img]http://img.gawkerassets.com/img/17e6p1jmbzcl5jpg/original.jpg[/img]<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 8pt; line-height: 115%;"><o:p> </o:p></span><span style="font-family: "Garamond","serif"; font-size: 8pt; line-height: 115%;">[img]http://www.wga.hu/art/m/matteo/bartholo.jpg[/img]</span><br />
<span style="font-family: "Garamond","serif"; font-size: 8pt; line-height: 115%;"></span><br />
<span style="font-family: "Garamond","serif"; font-size: 8pt; line-height: 115%;"></span><br />
<span style="font-family: "Garamond","serif"; font-size: 8pt; line-height: 115%;"><span style="font-family: Times New Roman; font-size: small;">
</span></span><br />
<span style="font-family: "Garamond","serif"; font-size: 8pt; line-height: 115%;"><div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 20pt; mso-ansi-language: EN-US;"><span style="mso-spacerun: yes;"> </span></span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 20pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">Tanned Human Skin<o:p></o:p></span></b></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">By LAWRENCE S. THOMPSON, U. S. Department<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">of Agriculture Library<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;"><o:p> </o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">THE NOTION of flaying the human body and
tanning the hide is an<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">jold one. According to Herodotus the Scythians
cultivated the art.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">In Saxon Britain it was customary for certain
types of offenders to<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">pay a hyd-geld to save their skins, and
marauding Danes who committed<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">sacrilege in the churches were flayed and
their skins nailed to the church<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">doors.1 Other legends such as that of Zisca's
drum made of his own<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">skin and the thirteenth century Bible in the
Bibliotheque Nationale<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">made on parchment from peau de femme are not
so easy to prove.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">Similar folklore is the medieval Bavarian
belief that anthropodermic<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">girdles were effective aids to childbirth.2<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">In modern times the growth of interest in the
possibility of tanning<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">the human exuviae has risen slowly. The first
authentic notice on the<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">subject in recent centuries is the information
that William Harvey presented<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">the College of Physicians with a tanned human
skin.3 Among the<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">first to put tanned human skin to practical
use was Anthony Askew<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">(1722-1773), physician, bibliophile, and
classicist, who had a TraitS<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">d'anatomie bound in the human integument.4
Another English physician,<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="DE" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: DE; mso-bidi-font-family: Courier;">John Hunter (1728-1794) had an Abbandlung fiber
die Hautkrankbeiten<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">put up in a healthy cured human skin.5<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">On the other side of the Channel French
physicians were also taking<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">'Albert Way, "Some Notes on the Tradition
of Flaying Inflicted in Punishment<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">of Sacrilege; the Skin of the Offender Being
Affixed to the Church-Doors," Archaeological<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">Journal, V (1848), 189-90; see also Walter
George Bell, More about Unknown<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">London (London, John Lane, 1921), pp. 168-72.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="DE" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: DE; mso-bidi-font-family: Courier;">'Max Hofler, Volksmedizin und Aberglaude in
Oberbayerns Gegenwart und Vergangenheit<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">(Munich, 1888), 172.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">'Holbrook Jackson, The Anatomy of Bibliomania
(New York, Charles Scribner's<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">Sons, 1932), p. 511. Similar specimens are in
the Naturwissenschaftliches Museum of<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">the University of Basel and the Lycee of
Versailles.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="FR" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: FR; mso-bidi-font-family: Courier;">4Albert Gm, Le livre historique-fabrication-achat-classement-usage-et
entre'ien<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="DE" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: DE; mso-bidi-font-family: Courier;">(Paris, E. Flammarion, 1905-8; five volumes),
III, 293.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="DE" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: DE; mso-bidi-font-family: Courier;">"Einbande aus Menschenhaut,"
Allgemeiner Anzeiger fir Buchbindereien, XLIV<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="FR" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: FR; mso-bidi-font-family: Courier;">(no. 42, Oct. 18, 1929), 1010; "Reliures en
peau humaine," La bibliofilia, raccolta di<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">scritti sull'arte antica in libri,
manoscritti, autografi e legature, IV (1902-3), 333.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">93<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">LAWRENCE S. THOMPSON<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">some note of the possibilities of human
leather. Valmont de Bomarel<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">reports that a celebrated Parisian surgeon, M.
Sue,7 gave to the Cabinet<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">du Roi a pair of slippers made of human skin.
Valmont reports further<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">that this same museum owned a belt of human
skin on which the vestiges<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">of a nipple were clearly distinguishable, and
another piece consisted of<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">the last two fingers of a right hand, including
the nails. Further up the<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">coast in the Low Countries Hermann Boerhaave
(1668-1738) had formed<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">a collection of medical curiosities including
a .pair of lady's high heeled<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">shoes made of leather from the skin of an
executed criminal. Again here<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">the nipple was used as an ornament, adorning
the front of the instep.8<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">However, no systematic interest was taken by
the medical profession<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">in the practical uses of human leather until
the nineteenth century.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">Possibly it resulted from the impetus given to
anthropodermic bibliopegy<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">and related arts by the French Revolution. Few
histories of the Revolution<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">omit references to the infamous Royalist
propaganda to the effect<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">that a gigantic human skin tannery at Meudon
filled all the requisitions<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">for the leather goods needed by the
revolutionary army quartermasters.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">Likewise, most of us who have made the grand
tour or read guide books<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">on Paris are familiar with the Carnavalet
Museum's copy of the French<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">Constitution of 1793 which is contained in a
piece of human skin dyed<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">a light green.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">At all events, we find in early nineteenth
century England a remarkable<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">tendency on the part of the courts to include
in the sentences of condemned<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">criminals a provision that their bodies be
delivered to local<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">surgeons for dissection, and on several
occasions the hides of these<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">scoundrels were immortalized. Possibly this
type of sentence was intended<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">as an antidote for the notorious practice of
"Burking," so-called<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">from the profession of William Burke, who
earned his bread by murdering<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">the good citizens of Edinburgh and selling the
cadavers to a local<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">physician for dissection. When Burke himself
was finally apprehended<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">and executed in 1829, a portion of his skin
was tanned. </span><span lang="FR" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: FR; mso-bidi-font-family: Courier;">Part went to<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="FR" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: FR; mso-bidi-font-family: Courier;">Jacques Christophe Valmont de Bomare,
Dictionnaire raisonne universel d'histoire<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="FR" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: FR; mso-bidi-font-family: Courier;">naturelle contenant l'histoire des animaux, des
vegetaux et des mine'raux, et celle des<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="FR" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: FR; mso-bidi-font-family: Courier;">corps celestes, des m'tetores, & des autres
principaux phe'nomenes de la nature; avec<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="FR" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: FR; mso-bidi-font-family: Courier;">l'histoire des trois retgnes et la detail des
usages de leurs productions dans la medecine,<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="FR" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: FR; mso-bidi-font-family: Courier;">dans Economie domestique et champêtre, et dans
les arts et metiers (Lyon, Bruyset<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">Freres, 1791; fifteen volumes; 4th revised
edition), X, 204.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">'Possibly Pierre Sue (1739-1816), "le
jeune," but there were at least three other<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">famous Sues, all related to Pierre, in
pre-Revolutionary French medical history. Another<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">member of the Sue family, Eugene, is rumored
to have bound his famous Mysteres de<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">Paris in the skin of a woman who loved him.
See A.H.W. Fynmore, "Books Bound in<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">Human Skin," Notes and Queries, CLXXXVII
(Dec. 2, 1944), 259; Walter Hart<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">Blumenthal, "Books Bound in Human
Skin," The American Book Collector, II (1932),<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">123-4; and "Curl Up on a Good Book,"
The Dolphin, Fall, 1940, Pt. 1 (no. 4), p. 92.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">' Henry Stephens, "Human Skin Tanned,
etc.," Notes and Queries, 2nd series, II<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">(Sept. 27, 1856), 252.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">94<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">TANNED HUMAN SKIN<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">make a wallet for the doorkeeper of the
anatomical classroom in Edinburgh.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">9 A larger piece which was tanned and dyed a
dark blue fell into<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">the hands of the publisher of Burke's trial,
who had it cut into small<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">pieces and distributed to various friends. One
portion of it was included<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">in the remarkable collection of papers
relative to Burke and Hare which<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">was formed for Sir Walter Scott and retained
in the library of the bard<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">at Abbotsford after his death.10<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">The early issues of Notes and Queries are full
of accounts of criminals<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">whose integuments were removed subsequent to
dissection and delivered<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">to the tanner. The earliest known instance of
a criminal whose<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">body was ordered by the court to be dissected
is found in the sentence of<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">one James Johnson, condemned to the gallows on
March 19, 1818, by<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">Mr. Justice Dallas of the Norfolk Assizes, who
also ordered that the<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">culprit's body "be delivered to the
surgeons to be anatomized." Following<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">the execution, which took place on the Castle
Hill, Norwich, in the<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">presence of 5,000 spectators, the dissection
was performed by Mr.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">Wilson, "a gentleman from London,"
and Mr. Austen, "a pupil of Mr.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">Dalrymple's," who prepared the body for a
series of daily lectures delivered<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">by a Mr. Crosse.1"<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">Another early case on record is that of a
youth of eighteen named<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">John Horwood, who was hanged on April 13,
1821, at Bristol New<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">Drop for the aggravated murder of Eliza
Balsum. Richard Smith, senior<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">surgeon of the Bristol Infirmary, was given
authority by the court to<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">dissect the body; and after a course of
lectures ad populum on respiration<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">and circulation which he based on the corpse,
he flayed the body and<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">tanned the skin. The skeleton he preserved in
a cabinet of curiosities,<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">principally relics of executed criminals; and
near this museum piece he<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">placed a bound collection of Horwoodiana with
a label on the back<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">(some 6" x 3") of tanned human
cuticle. It resembles light russia, has<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">tooled borderlines in gold with a skull and
crossbones stamped in each<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">corner, and a gilt inscription in blackletter:
"Cutis Vera Johannis<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">Horwood.''12 The book is still in the Bristol
Royal Infirmary.'3<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">About five or six years after the execution of
John Horwood, William<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">Waite went to the gallows at Worcester for the
murder of his wife's<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">daughter (by a former husband), a little girl
named Sarah Chance, by<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">throwing her into an exhausted coalpit.
Dissection was a part of his<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">9"G.," "Human Skin
Tanned," Notes and Queries, 3rd series, VIII (Dec. 2,<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">1865), 463.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">se"T. G. S.," "Human Skin
Tanned, etc.," 2nd series, II (Sept. 27, 1856), 252.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">Information supplied by Mr. George Hayward,
city librarian of the Norwich<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">Public Libraries, from Charles Mackie's
Norfolk Annals, 1, 151.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">12 "F. S." of Churchdown,
"Human Skin Tanned, etc.," Notes and Queries, 2nd<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">series, II (Sept. 27, 1856), 250-1.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">13 C. Roy Hudleston, "Books Bound in
Human Skin," Notes and Queries,<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">CLXXXVII (Nov. 18, 1944), 241.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">95<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">LAWRENCE S. THOMPSON<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">sentence, and after dissection his entire skin
was flayed by a Stourbridge<o:p></o:p></span></div>
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</span><br />
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">surgeon named Downing. It was not tanned but
rather preserved in a<o:p></o:p></span></div>
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</span><br />
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">sumach preparation.14<o:p></o:p></span></div>
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</span><br />
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">One of the most celebrated dissections which
resulted in ultimate<o:p></o:p></span></div>
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</span><br />
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">tanning of the hide was that of ratcatcher
George Cudmore, executed in<o:p></o:p></span></div>
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</span><br />
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">the Devon County Jail in 1830 for the murder
of his wife, Grace, with<o:p></o:p></span></div>
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</span><br />
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">the assistance of a woman named Sarah Dunn.
The Dunn woman, incidentally,<o:p></o:p></span></div>
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</span><br />
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">was forced to witness the execution of her
accomplice, and<o:p></o:p></span></div>
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</span><br />
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">she is said to have fallen into hysterics and
fainted when the drop fell.<o:p></o:p></span></div>
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</span><br />
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">Cudmore was dissected at the Devon and Exeter
Hospital. Subsequently<o:p></o:p></span></div>
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</span><br />
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">his tanned skin fell into the hands of W.
Clifford, a bookseller<o:p></o:p></span></div>
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</span><br />
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">of Exeter, who used it for binding a copy of
Teggs's 1852 edition of<o:p></o:p></span></div>
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</span><br />
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">Milton. This book was at one time in the
library of Ralph Sanders of<o:p></o:p></span></div>
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</span><br />
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">Exeter, but it is now in the Albert Memorial
Library of that city. The<o:p></o:p></span></div>
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</span><br />
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">skin is dressed white and looks something like
pigskin in grain and<o:p></o:p></span></div>
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</span><br />
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">texture.'5<o:p></o:p></span></div>
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</span><br />
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">Towards the middle of the nineteenth century
English physicians<o:p></o:p></span></div>
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</span><br />
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">developed a somewhat more objective interest
in human skin. Especially<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">adept in the art of recognizing the true
provenance of human leather<o:p></o:p></span></div>
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</span><br />
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">was one John Quekett, assistant curator of the
museum of the Royal<o:p></o:p></span></div>
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</span><br />
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">College of Surgeons. Quekett was approached by
Sir Benjamin Brodie,:'<o:p></o:p></span></div>
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</span><br />
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">Albert Way,17 and others with specimens of
human skin, in some instances<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">nearly a thousand years old, and requested to
give an identification<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">of the nature of the cuticles. Through a now
familiar technique of<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">microscopic examination of vestigial remnants
of hairs still clinging to<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">the skin, Quekett identified three pieces for
Way as the skin of fair<o:p></o:p></span></div>
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</span><br />
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">haired persons-sacrilegious Danes who had
pillaged the churches in<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">Worcester, Hadstock, and Copford many years before
the Conquest;'8<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">The naturalist Frank Buckland repeated a story
probably told by his<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">father, who was dean of Westminster, that a
piece of hard, dry human<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">skin had been found beneath the bossed head of
a huge iron nail on the<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">door of the Abbey's Chapter House. Quekett
again identified this<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">specimen as human and pointed out that it
probably came from a fair<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">haired person.19<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">14 F. A. Carrington, "Human Skin Tanned,
etc.," Notes and Queries, 2nd series, II<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">(Oct. 11, 1856), 299. Carrington was one of
the counsel on the trial.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">' Alfred Wallis, "Book Bound in Human
Skin," Notes and Queries, 7th series,<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">VIII (March 30, 1889), 246; H. Tapley-Soper
(librarian of the Exeter City Library),<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">"Books Bound in Human Skin," Notes
and Queries, CLI (July 24, 1926), 68-9, and<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">CLXXXVII (Dec. 30, 1944), 306; Fynmore, loc.
cit.; Blumenthal, op. cit., p. 119.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">14John Pavin Philips, "Human Skin Tanned,
etc.," Notes and Queries, 2nd series,<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">II (Sept. 27, 1856), 251-2.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">'7 Op. cit.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">Deposited in the Anatomical Museum of the
College of Surgeons in Lincoln's<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">Inn Fields; see Bell, op. cit., p. 170.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">" Ibid.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">96<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">TANNED HUMAN SKIN<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">Another British physician who displayed an
interest in human skin<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">about the middle of the last century was one
James Wise. In 1919 the<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">Newberry Library of Chicago received as a part
of the bequest of Mr.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">John M. Wing a volume with the following note
on the front fly leaf:<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">"Found in the Palace of the King of Delhi
September 21, 1857 eleven<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">days after the assault. James Wise, M.D. Bound
in human skin."<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">Authorities at the Newberry Library advise
that examination of the pore<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">structure by a Chicago anatomist has confirmed
the second statement.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">The leather is smooth and thin and has been
dyed a maroon color. The<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">covers have gold stamped corner and center
pieces of oriental floral<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">design. A letter to Wise attached to one of
the back fly leaves identifies<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">the text of the manuscript as "a
narrative of events connected with the<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">history of the Dekkan, comprising biographies,
deeds, genealogies, etc.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">of sundry notables by a Nawab Wuzeer of
Hyderabad." It was copied by<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">Mir Baki 'Ali who completed it in the year of
the Hegira 1226 (i.e.,<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">1848 A.D.).20<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">Toward the latter part of the nineteenth
century several prominent<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">American physicians began to show a pronounced
interest in anthropodermic<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">bibliopegy. At least three such volumes are in
the library of the<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">Philadelphia College of Physicians. The
earliest such volume is Joseph<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">Leidy's own copy of his Elementary Treatise on
Human Anatomy (Philadelphia,<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">Lippincott, 1861), with the inscription:
"The leather with<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">which this book is bound is human skin, from a
soldier who died during<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">the great Southern rebellion."<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">Somewhat better known are the two volumes now
owned by the<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">College of Physicians which came from the
library of Dr. John Stockton-<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">Hough, who died in 1900 in Ewingville near
Trenton, N.J. Stockton-<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">Hough flayed some patients he lost at the
Philadelphia General Hospital,<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">formerly known simply as the Philadelphia
Hospital (Blockley), and<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">he is said to have bound more than six books
in the leather obtained<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">thereby.21 However, only two can be located,
both in the College of<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">Physicians' Library:<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">[Couper, Robert]<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">Speculations on the mode and appearances of
impregnation in the human<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">female; with an examination of the present
theories of generation. By a physician.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">149 pages. 80. Edinburgh, Elliott, 1789.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">2' I am -indebted to Mr. Ernst F. Detterer,
custodian of the Wing Foundation of the<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">Newberry Library, for the description of this
volume.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">' "Curl Up on a Good Book," loc.
cit.; G.A.E. Bogeng, "Kuriosa. I," Archiv fiir<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">Buchbinderei, IX (1909), 90; Paul McPharlin,
"Curious Book Bindings," Notes and<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">Queries, CLIII (1927), 6. I am indebted to Mr.
Elliott H. Morse, Reference Librarian<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">of the University of Pennsylvania, and to Dr.
W. Brook McDaniel, 2d, librarian of<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">the College of Physicians, for accurate
information concerning the anthropodermic<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">volumes of Leidy and Stockton-Hough.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="FR" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: FR; mso-bidi-font-family: Courier;">97<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="FR" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: FR; mso-bidi-font-family: Courier;">LAWRENCE S. THOMPSON<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="FR" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: FR; mso-bidi-font-family: Courier;">Drelincurtius, Carolus<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="FR" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: FR; mso-bidi-font-family: Courier;">De conceptione adversaria. Disce, homo, de tenui
constructus pulvere, que<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">te edidit in lucem conditione Deus. Ed.
altera.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">[8], 74 pages. 240. Lugd. Batv., Boutesteyn,
1686.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">On the basis of his extensive experience
Stockton-Hough reported skin<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">from the human back to be coarse-grained; but
he also said that skin<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">from a woman's thigh could be almost
indistinguishable from pigskin.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">Anthropodermic volumes from the library of Dr.
Matthew Wood of<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">Philadelphia have not been located as yet. The
most spectacular volume<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">in this collection was a tome bound in the
skin of one Ernst Kauffmann,<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">a young German who was studying law in 1813.
Kauffmann despaired of<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">fame and fortune as a writer, but in order to
be remembered to posterity,<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">he made a collection of some two hundred
woodcuts which he entitled<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">Zwei Hundert beriihmte Manner and had it bound
in his own skin after<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">his death.22 Other books from Wood's library
bound in Kauffmann's skin<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">were Lesage's Histoire de Gil Blas, two
volumes of A Book About<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">Doctors, and three volumes of Episodes de la
vie des insectes.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">An unidentified medical student in
Massachussetts precipitated one<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">of the most bitter political scandals ever
known by that commonwealth<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">when he had a friend take a small quantity of
human skin to tanner<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">William Mueller of North Cambridge, Mass.
Somehow or another,<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">Governor Benjamin Butler got hold of this
leather and alleged that it<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">was the skin of inmates of the Tewksbury State
Almshouse sold by<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">administrative officers of that institution.
The Almshouse was subjected<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">to an extensive investigation, a law was
proposed to make the tanning<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">of human skin a criminal violation, and there
was a flood of newspaper<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">articles and pamphlets on the subject. The
Surgeon General's Library in<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">Washington has a broadsheet by William Mueller
explaining his position<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">and condemning Governor Butler.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">France as well as England and America has
produced a number of<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">experts on human leather. The Goncourt
brothers gossiped about some<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">interns in the Clamart who had been dismissed
because they had delivered<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">the skin of the breasts of deceased female
patients to a binder of<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">obscene books in the Faubourg Saint-Germain.23
The publisher of<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">obscene books, Isidore Liseux, claimed to have
seen the one volume<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">octavo edition (1793) of Justine et Juliette
by the Marquis de Sade<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">bound in female breasts.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="DE" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: DE; mso-bidi-font-family: Courier;">22 Cim, op. cit., pp. 295 and 300; Paul Kersten,
"Bucheinbaende in Menschenleder,"<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="DE" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: DE; mso-bidi-font-family: Courier;">Die Heftlade; Zeitschrift fur die FUrderer des
Jakob Krause-Bundes, I (1922-24), 55.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="FR" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: FR; mso-bidi-font-family: Courier;">' Edmond and Jules de Goncourt, Memoires de la
vie litteraire (Paris 1888), III,<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="FR" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: FR; mso-bidi-font-family: Courier;">49, entry under date of April 17, 1866);
"Les reliures en peau humaine," La chronique<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">medicale, V (1898), 133; Cim, op. cit., p.
297; G. E. B. Saintsbury, A History of the<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">French Novel (to the Close of the 19th
Century) (London, Macmillan, 1917-19; two<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">volumes), II, 461-2.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">98<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">TANNED HUMAN SKIN<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">The French were not quite as enthusiastic
about the dissection of<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">deceased criminals as were the British. An
anonymous letter to the editor<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">of the Mercure de France24 dated September 15,
1920, stated that the<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">corpse of the famous nineteenth century criminal
Pranzini was delivered<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">to the Faculty of Medicine in Paris inasmuch
as it was not claimed by his<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">family. An official of the Surete wanted to
make a cardcase of the skin,<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">but when the news of his project came to the
ears of the prefect, the<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">latter official immediately ordered that any
cutaneous relics of Pranzini<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">be buried with the body. Another account
advises that the official was<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">Inspector Rossignol, who wanted to give
cardcases to Messrs. Taylor<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">and Goron, chief and number one man of the
Surete, respectively, and<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">that he had a 40 cm. square piece tanned by
Destresse of Paris.25 Campi,<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">the notorious French criminal whose true name
was never revealed by the<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">police, was to be flayed after execution and
the tanned hide to be used to<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">bind a volume containing the complete story of
his life and exploits.26<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">M. Flandinette, a technician at the Vcole
d'Anthropologie, tanned the<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">right arm and side of this subject, but it is
not known whether the<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">leather was ever put to any bibliopegic
application.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">A Dr. Legrain of Villejuif made a rather
interesting confession to the<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">editor of the Mercure de France27 in a letter
dated August 3, 1920, concerning<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">his experience with anthropodermic binding. He
stated that as a<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">medical student some forty years previously he
had despoiled a corpse<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">of its cutis and delivered it to a custom
tanner. Six months later it was<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">turned back over to him, shrunken to half its
original size and increased<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">in thickness by a full centimeter. Without
revealing his secret, Legrain<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">submitted the skin to a friend who was well
versed in such matters. The<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">latter stated positively that it was pigskin,
although he did express some<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">suspicion of its human origin. Due to its
excessive thickness, the skin<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">had to be split before it could be put to any
practical use. Legrain used<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">the leather to bind a copy of the Theophile
Gautier's Comedie de la mort<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">which he presented to the friend whom he had
so cruelly deceived.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">About the same time a bookbinder reported that
he had bound<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">several volumes in human skin for an otherwise
unidentified Dr. V.28<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">Among other volumes he bound for him was an
edition of Mercier de<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">Compiegne's L'eloge des seins in the tanned
skin from female breasts,<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">and in the middle of the front cover appeared
the unmistakable form of<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">a human female's nipple. Incidentally, the
customer of this binder was<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">especially fond of tattooed human skins. He
managed to get hold of a<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">TMCXLII (1920), 831.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">2;Kersten, loc. cit., and A. M. Villon,
Practical Treatise on the Leather Industry<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">(London, Scott, Greenwood & Co., 1901), p.
28.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="FR" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: FR; mso-bidi-font-family: Courier;">:"'Les reliures en peau humaine," loc.
cit., p. 137; Kersten, op. cit., p. 55.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="DE" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: DE; mso-bidi-font-family: Courier;">etCXLI (1920), 831.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="DE" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: DE; mso-bidi-font-family: Courier;">'Einbaende aus Menschenhaut," loc. cit.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">99<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">LAWRENCE S. THOMPSON<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">human skin on which were tattooed two knights
from the age of Louis<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">XIII in single combat, and he ordered a copy
of The Three Musketeers<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">bound in it.29<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">A Dr. Cabanes, probably the editor of La
chronique m6dicale, figured<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">in one of the most widely discussed of all
recent tales about anthropodermic<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">bindings. The central characters are Camille
Flammarion,<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">French popularizer of astronomical research,
and an unidentified woman,<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">ordinarily described as a young countess.
According to the most widely<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">accepted version, the young woman suffered an
early death from tuberculosis,<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">and in order to express adequately her
unrequited love for<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">Flammarion, she had him sent a strip of skin
from her shoulders (passionately<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">admired by Flammarion, according to another
tale) with the<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">request that he use it to bind the first book
published by him after her<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">death. True to her wishes, Flammarion bound
his Terres du ciel in the<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">skin, probably hand tooled au fer froid, style
monastique. As late as 1925<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">the book was still in the library at Juvisy.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">Dr. Cabanes, curious about the true facts of
this incident so badly<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">distorted by the sensational press, wrote
Flammarion and got the<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">following answer :30<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">My dear Doctor:<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">The story has been somewhat expanded. I don't
know the name of the<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">person whose dorsal skin was delivered to me
by a physician to use for binding.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">It was a matter of carrying out a pious vow.
Some newspapers, expecially<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">in America, published the portrait, the name,
and even the photograph of the<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">chateau where "the countess" lived.
All of that is pure invention.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">The binding was successfully executed by Engel,
and from then on the<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">skin was inalterable. I remember I had to
carry this relic to a tanner in the<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">Rue de la Reine-Blanche, and three months were
necessary for the job. </span><span style="font-family: "Garamond","serif"; font-size: 12pt; mso-bidi-font-family: Courier;">Such an<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">idea is assuredly bizarre. However, in point
of fact, this fragment of a beautiful<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">body is all that survives of it today, and it
can endure for centuries in a<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">perfect state of respectful preservation.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">The desire of the unknown woman was to have my
last book published<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">at the time of her death bound in this skin:
the octavo edition of the Terres<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">du ciel published by Didier enjoys this honor.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; mso-bidi-font-family: Courier;">Your reader
and admirer,<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; mso-bidi-font-family: Courier;">Flammarion<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">A binder who was actively engaged in
anthropodermic bibliopegy on<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">the other side of the Rhine prior to the first
World War was Paul<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">.9A similar penchant for tanned skin with
tattoos was revealed in a short article<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">by R. W. Hackwood, "Human Skin
Tanned," Notes and Queries, 3rd series, X (Oct.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; mso-bidi-font-family: Courier;">27, 1866),
341.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="FR" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: FR; mso-bidi-font-family: Courier;">'E. Leclerc, "Reliures en peau
humaine," Papyrus, VIII (1927), 742; a picture<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">of this binding was printed by Blumenthal, op.
cit., p. 122.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; mso-bidi-font-family: Courier;">100<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
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<span style="font-family: "Garamond","serif"; font-size: 12pt; mso-bidi-font-family: Courier;">TANNED
HUMAN SKIN<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">Kersten.31 On of the most famous of his
numerous anthropodermic<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">bindings is a volume of anatomical papers by
L'Admiral, fully equipped<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">with doublures of "graveyard" mole
and a panel stamp showing a skull<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">and the silhouette head (of the original owner
of the binding?). </span><span style="font-family: "Garamond","serif"; font-size: 12pt; mso-bidi-font-family: Courier;">Once<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">in the private library of Hans Friedenthal, it
is now one of the most<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">unusual pieces in the collection of the Lane
Medical Library of Stanford<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">University.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">Some attention has already been devoted to the
combination of<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">erotomania and bibliomania in the field of
anthropodermic bibliopegy.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">Some perverted minds have let their
imaginations run riot on the subject.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">The Mercure de France reported in September,
1920, that it was fortunate<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">that Goron of the Paris police needed a
cardcase instead of a tobacco<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">pouch, for otherwise a different portion of
Pranzini's corpse might have<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">been defiled. Nevertheless, it is reliably
known that a certain famous<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">American burlesque queen actually does carry a
coin purse made of a<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">male scrotum. But the ultimate in the
imagination of the erotomaniacs<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">was attained when Otto F. Babler32 smirked
over a possible appropriate<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">binding for the medieval tract De serto
virginum.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">The breast fetishists such as Dr. V. and the
clients of the Clamart<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">interns have been especially active in the
pursuit of their hobby. That<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">paragon of pornographers, Iwan Bloch,
gleefully reported the use of the<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">female breast as the covering for books.33
Some bibliomaniacs have books<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">bound with women's breasts so that the nipples
form characteristic<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">protuberances on the outer part of the back
and front covers.34<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">Even the most famous anthropodermic tale of
the middle ages has<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">been given an erotic turn. According to Robert
Burton, the famous<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">Hussite general John Zisca "would have a
drum made out of his skin<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">when he was dead, because he thought the very
noise of it would put<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">his enemies to flight, I doubt not but these
following lines, when they<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">shall be recited, or hereafter read, will
drive away melancholy (though I<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">be gone) as much as Zisca's drum could terrify
his foes."35 G.-J.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="FR" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: FR; mso-bidi-font-family: Courier;">Witkowski's grossly vulgar Tetoniana: anecdotes
historiques et religieuses<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="FR" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: FR; mso-bidi-font-family: Courier;">sur les seins et l'allaitement, comprenant
l'histoire du decolletage<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">'3 In addition to his article in Die Heftlade,
see also his "Bucheinbaende in<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="DE" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: DE; mso-bidi-font-family: Courier;">Menschenhaut," Zeitschrift fur
Buicherfreunde, II (Teil 2, 1910-11), 263-4, and G. A. E.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="DE" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: DE; mso-bidi-font-family: Courier;">Bogeng in the Zeitschrift fir Bucherfreunde, Neue
Folge, V (Teil 1, Beiblatt, 1913-14),<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="DE" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: DE; mso-bidi-font-family: Courier;">79-80.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="DE" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: DE; mso-bidi-font-family: Courier;">' "Anekdoten iuber Biicher und deren
Liebhaber," Die Buichersiube, V (1926-27),<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="FR" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: FR; mso-bidi-font-family: Courier;">228.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="FR" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: FR; mso-bidi-font-family: Courier;">Bogeng, "Kuriosa. I.," loc. cit.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">34Jackson, op. cit., p. 509.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">The Anatomy of Melancholy, edited by Floyd
Dell and Paul Jordan-Smith (New<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">York, Farrar & Rinehart, c. 1927), p. 30.
Blumenthal, op. cit., claims that it was a<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">"Janizary drum" now in the Bavarian
Armee-Museum.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">101<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">LAWRENCE S. THOMPSON<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">et du corset36 claims that the skin of Zisca's
breast was used to make this<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">drum. An alleged picture of the instrument
drawn to such specifications<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">is reproduced. However, for all the notoriety
attained by Zisca's drum,<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">it seems more than likely that the whole story
is an enormous propagandistic<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">fabrication of the Counter-Reformation.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">As the result of investigations in German
concentration camps by<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">Allied officers, it has been fairly well
established that the Nazis were<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">also attached to human skin not belonging to
themselves. Sir Bernard<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">Spilsbury, the British pathologist, identified
as human leather pieces of<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">hide obtained by the eight M.P.s and the two
peers who inspected<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">Buchenwald.37 One of these pieces clearly had
formed part of a lampshade<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">at one time; and it was said that Frau Koch,
wife of the German<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">commanding officer, collected other articles
made of human skin.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">Kenneth L. Dixon, an Associated Press staff
writer, reported that one<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">Karl Voelkner, another Buchenwald official,
confessed to American CIC<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">agents that lampshades had been made of human
skin at that infamous<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">institution.38<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">The literature of anthropodermic biblopegy is
far more extensive<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">than the few notes of medical interest in the
present article. Such refinements<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">of the subject as autoanthropodermic bindings
such as Kauffmann's<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">work or the legal aspects of flaying as
punishment belong to<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">another story.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">3 Paris, A. Maloine, 1898; p. 56.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; mso-layout-grid-align: none;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">The Daily Mail, April 28, 1945.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: Courier;">-"Puerto Rico World-Journal, May 27,
1945.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Courier;">102</span><span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;"><o:p> </o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">=======================================<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">THE MACABRE: Human skin
<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">[WARNING: Lest the
title above not be enough, be aware that what follows is often graphic,
sometimes even horrifying, and very much NOT the kind of thing everyone wants
to read. <o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">Now that I've got the
interest of our teen readers....]<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;"><o:p> </o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">The item this week
about a 300 year old volume wrapped in human skin coincided nicely with my
visit to Los Angeles' Natural History Museum to see some of the "Bog
People": (though I was sorry not to see the other-worldly Tolland Man.) A
little research on the Web uncovered the Wikipedia's article on
"Anthropodermic bibliopegy":<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;"><o:p> </o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">Surviving historical
examples of this technique include anatomy texts bound with the skin of
dissected cadavers, volumes created as a bequest and bound with the skin of the
testator, and copies of judicial proceedings bound in the skin of the murderer
convicted in those proceedings. The libraries of many Ivy League universities
include one or more samples of anthropodermic bibliopegy. The rare book
collection at the Langdell Law Library at Harvard University holds a book,
Practicarum quaestionum circa leges regias Hispaniae, a treaty of Spanish law.
A faint inscription on the last page of the books states: * 'The bynding of
this booke is all that remains of my deare friende Jonas Wright, who was flayed
alive by the Wavuma on the Fourth Day of August, 1632. King btesa did give me
the book, it being one of poore Jonas chiefe possessions, together with ample
of his skin to bynd it. Requiescat in pace." (The Wavuma are believed to
be an African tribe from the region currently known as Zimbabwe.)'<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">It turns out too that
Harvard Law School's the Record has an extensive article on the subject:
"Books Bound in Human Skin; Lampshade Myth? - Deviant Behavior" by
Dan Alban. A book held by the Boston Atheneum is described here: "The
human-skin book" and shown (with a link to its contents) on the Atheneum's
own site: Narrative of the life of James Allen, alias George Walton, alias
Jonas Pierce, alias James H. York, alias Burley Grove, the highwayman. Being
his death-bed confession, to the warden of the Massachusetts state prison.)
There's even a poem on the subject: "This Book in Human Skin".)
Otherwise it turns out the Intermediare des Chercheurs discussed this subject
for decades, from its second issue on. The initial subject quickly divides into
several others, as follows:<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;"><o:p> </o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">BOOKS (IN AND ON) <o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">WEARABLES <o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">THE TANNERY OF MEUDON <o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">ENTIRE HUMAN SKINS <o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">ZISKA'S DRUM <o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">And that's without
addressing the practice of collecting tatoos on human skin (a large subject in
itself.) One BIG warning in reading the following: much of this material is
from the nineteenth century, when wounds from the Revolution were still fresh
(or carefully nourished) on each side. While truly hideous acts have been
fairly documented under the Revolution, even some serious historians of this
period were probably tempted to darken the balance sheet of the Revolutionaries
wherever they could. Some of what follows - barring further confirmation - may
be as much a record of ideas of the time as it is of any historical reality.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;"><o:p> </o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">- BOOKS (IN AND ON) <o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">An article in the
Magasin Pittoreseque entitled "Singular Bindings" discusses not only
bindings in human skin, but in that of numerous exotic animals, not to mention
novelties such as musical bindings (a kind of abbreviated music box) (No 69 -
1901 (71-72). (The article itself is largely drawn from items in the
Intermediaire.): "Who has not heard of bindings in human skin? Numerous
examples of these bindings exist and human skin provides... [says a specialized
leather review] 'an excellent leather, a leather that is quite solid, thick and
grained' ". (Another item in the Intermediaire quotes a contrary opinion:
"the skin is not attractive as a binding, it is very difficult, if not
impossible, to completely degrease it." The writer adds "these
differences in opinion surely arise from the condition of those who have provided
the skin. Only the skin of bodies without illness, healthy and robust, gives
good results." (1910-2 (270))) The article then cites an English anatomy
text bound in human skin by Doctor Antoine Askew (d. 1773) "so that the
outside of the work matched the interior" and, also in England, two
volumes covered with the skin of Mary Ratman, "a Yorkshire witch, executed
for murder in the first years of the 19th century". A Cincinnati
businessman owned two works by Sterne, one, the "Sentimental
Journey", bound in a black woman's skin and the other, "Tristram
Shandy", in that of "a young Chinese woman" (meaning only that
the skin appeared Asian?). In France, a 13th century bible owned by the
Sorbonne was said to be bound in human skin.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;"><o:p> </o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">The most frequently
cited volume from the Revolutionary period was sold at auction in 1864 :
"No. 409. Constitution of the French Republic, Dijon. Causse, year II
(1793), 1 vol in-18, pap. vel., bound in human skin."(IC 1869 (181)) With
it were a handwritten note and a poster printed on blue paper, both affirming
that it was bound in human skin. The poster was produced by Galetti, a
journalist who'd been accused by the Committee of Public Safety of revealing
[sic] the existence of tanneries of human skin. A subscriber to his paper found
this volume, which was said to prove Galetti's claim. The volume then went for
226 francs (IC 1869 (323)). The volume was later determined to be that of a
woman. When it was sold again in 1872, the Figaro wrote of how people
complained about inflation, then went on: "There is something,
nonetheless, whose value has not increased, that is human skin." The paper
then says that, the second time around, this volume brought in no more than 185
francs. "Such is our worth!" ("Ce que c'est de nous!") (1913
(264)). A contributor who had seen a 1793 copy of the Constitution in Lyons at
the Palais des Arts said "this binding does not show any difference with
the ordinary dark tint of the faun color." (1882 (446)). For those who
want to judge for themselves, there is apparently a copy at the Carnavalet
Museum: "Just why the "Constitution de la Republique Fran?aise"
should have been so covered is a mystery, yet several copies are known, one of
which is at present in the Museum Carnavalet at Paris." The Courier of the
Somme is cited (without a date) as saying that a 1765 edition of the
Encyclopedia was bound this way in 1793: "This kind of binding was widely
used: there were factories where human skin was tanned absolutely like the
leather of cattle or horses, and handsome volumes were made from it which sold
at insane prices." The library of Macon possessed a copy of L'Essai sur
l'electricite des corps by Abbe Nollet (1746) which, according to an old note,
was bound with human skin. This skin was said to be "without grain,...
extraordinarily fine and lightly soapy to the touch." (1910-2 (771)) A
version of Decretales, then (1869) held by the Imperial Library (now the BNF),
was said by a librarian of the Revolutionary period to be written on human skin
(1869 (396)).<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;"><o:p> </o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">A Paris volume of Hans
Holblein's Danse Macabre is also said to have "once" been bound this
way (1886 (202)). The Magasin article also cites a copy of Suard's Opuscules
Philosophiques from the library of a Monsieur de Musset (possibly the poet's
father) said to be bound in human skin, which bore a note that it had been
bound in 1796 for 20 france by "Derrome". (In 1881, says the
Intermediaire, the Arrigoni bookstore (Milan?) offered this work for 200 francs
(1882 (394)))). <o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;"><o:p> </o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">Among the 19th century
examples in that article it is hard to resist mentioning the gift supposedly
made to Camille Flammarion by a countess whose shoulders he had admired - the
skin from the shoulders, which he used to bind a copy of Terre et Ciel.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">A 1793 copy of
L'Almanach des Prisons was apparently bound later in the skin of a childhood
friend of a Reverdin, a Geneva surgeon. This friend left him both his fortune
and his skin. Reverdin took a hand's width of skin from the chest and tired
unsuccessfully to get it tanned in Geneva. Finally he got it done in Annecy
"where he was made to pay for this simple task an exorbitant price, on the
rather bizarre pretext that the workers were disgusted." As was Reverdin,
when he received the piece of leather, "dyed black, dulled, oily and,
surprisingly for a piece of skin from the chest, very thick..." He gave it
to Marcellin Pellet, a French diplomat and scholar of the Revolution, who used
it to bind the volume in question. (IC 1912-2 (125-126)) <o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;"><o:p> </o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">It would not be
surprising to find Sade's works bound this way and one writer in the
Intermediare had seen such a volume in a bookstore on the rue de Seine, with a
note by the binder Lortic that it was bound in human skin. The binder claimed
not only that it was the "untinted" skin of a woman, but that he knew
the woman's name. However, the skin, says the writer, looked a great deal like
pigskin. (1910-2 (96-97)<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;"><o:p> </o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">- WEARABLES <o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">The rather grisly
question of human skin being made into wearable items arose before the
Revolution; the Encyclopedia's article on "Human Skin" (Vol. XII) not
only explains in detail how to tan it, but goes on to say: "M. Sue, a
Paris surgeon, gave the king's Cabinet a pair of slippers made of human
skin." Such mentions become less neutral with writing on the Revolution. <o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;"><o:p> </o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">An eyewitness from
Angers, 13 or 14 and a shepherd at the time of these events, is quoted in the
Intermediaire on the treatment of some who were shot by the republican army in
the Vendee: "They were skinned at the midpoint of the body, because the
skin was cut below the belt, then along the thighs until the ankle... so that,
after its removal, the pants were partly formed; all that remained to do was to
tan and to sew." Cretineau-Joly (Histoire de la Vendee Militaire) is
quoted as saying that the republican general Beysier was the first to wear this
"awful trophy", but that the fashion caught on there and in Nantes
(1881 (745-746)). Another item cites three different official accounts from
Anjou telling how Pequel, an army surgeon, flayed several Vendeeans who had
been shot at Ponts-de-Ce and then tried to force a local tanner to prepare
them. He and others refused but someone - apparently under constraint - finally
did so. The report of the Popular Society of Angers to the Convention makes it
clear that this was done unofficially: "These cannibals have pushed
barbarity to the point of choosing, among these poor people, a hundred of the
best looking, who were skinned and their skins tanned! Men who called
themselves patriots dressed themselves in this awful garment!" (1910-2
(156)) <o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;"><o:p> </o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">More severe official
sanctions were delivered elsewhere, as witnessed by this List of Citizens
arrested by the Commission of Haut-Rhin: "Morel, surgeon, for having
skinned a guillotined person to make himself pants, the tanner who tanned the
skin and the tailor who kept it in his shop, showing it to all comers."
(1913 (722)) In some cases, erotic or even romantic motivations are cited. <o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;"><o:p> </o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">One of the more
colorful (and so dubious) stories, from J. B. Harmand de la Meuse's Anecdotes
relatives a quelques personnes et a plusieurs evenements remarquables de la
Revolution concerns Saint-Just: "A young woman, tall and shapely, refused
Saint-Just's advances; he had her taken to the guillotine. After the execution
he wanted to be shown the cadaver and to have the skin removed... [which] he
had prepared by an oil tanner and wore it as breeches. I have this revolting
fact from the very person who was charged with these preparations and who
'satisfied the Monster'. " He goes to say that the man told him the story
in his cabinet in the presence of two other people. Harmand says that others
followed Saint-Just's example and even sold the resulting products. He adds
that one man used the same means to preserve a departed lover. He also speaks
of oil from cadavers that had been sold more recently (1818?) for use in
enamellers' lamps. (76, cited in IC 1875 (720)) The Baron de Saint-Frusquin
later adds: 'Saint-Just belonged to this cate gory of false philosophers out of
which came the Marquis de Sade and other novelists... Saint-Just's order (if
this order was carried out) constitutes a manner, as rare as it is superficial,
of entering into possession of the desired person."(1875 (426)) (all of
which sounds quite Freudian for 1875).<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;"><o:p> </o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">- THE TANNERY OF MEUDON
<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">The question of whether
a human tannery existed at Meudon or elsewhere has been debated over decades in
the pages of the Intermediaire. The Goncourt's Histoire de la Societe Francaise
pendant le Directoire is cited as quoting the first mention of the tannery of
Meudon (1880 (580)). A revolutionary report dated August 14, 1793 is quoted as
saying "Human skin is tanned at Meudon" and as discussing the
relative merits of male and female skin. (1910-2 (156)) R. L. Jacob (the
"Bibliophile Jacob", a frequent contributor) says: "these
tanneries were active, it is an established fact, and the large poster,
displayed in Paris in 1794 to denounce the fact, declares that the principal
establishment of this type was in Meudon." He cites two different people
who told him they had worn breeches of human skin themselves, one who stated
that they were "very well tanned, very supple and very comfortable,"
and offers a long quote from Dusaulchoy de Bergemont's Mosaique histoirque,
litteraire et politique, 1818 (I-146):<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;"><o:p> </o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">What people in Europe
does not take as a fable the establishment of the tannery of human skin at
Meudon? Nonetheless one remembers that a man came to the bar of the Convention
to announce a new and simple procedure for procuring an abondance of leather;
that the Committee of Public Saftey granted him the locale of the Chateau de
Meudon, whose doors were carefully closed, and that finally several members of
this committee were the first to wear boots made of human leather.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">Jacob adds that
Dusaulchoy's credibility is helped by the fact that he might have seen such
boots himself.(IC 1873 (460-461)) However, an F. Bruand, responding in IC 1874
(37-38), says "this picturesque and ridiculous legend has been exploded
[by] Louis Combes [in the] 'Amateur d'Autographes' of March 1, 1864" and says
that the same poster offered as proof is reproduced and refuted in this work. A
second writer adds "M. Combes' discussion is closely reasoned, and under
his vigorous effort, the human skin supposedly tanned in the old parish of the
joyous Rabelais cracks and rips." <o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;"><o:p> </o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">A later writer (1881
(747)) also questions the account but says that the idea was in the spirit of
Carrier's order to make lard from human bodies which was then sold at Nantes,
and of Roland's suggestion to the Academy of Lyons that oil and phosphoric acid
be extracted from the dead, as per an unadmiring note in Taine's "The
French Revolution" (II, Ch. 4):<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;"><o:p> </o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">Roland is an
administrative puppet and would-be orator, whose wife pulls the strings. There
is an odd, dull streak in him, peculiarly his own. For example, in 1787
(Guillon de Montléon, "Histoire de la ville de Lyon, pendant la
Révolution," 1.58), he proposes to utilize the dead, by converting them
into oil and phosphoric acid.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">Carlyle did not think
much of the tale either:<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;"><o:p> </o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">The Abbe Montgaillard
has shrewdness, decision, insight; abounds in anecdotes, strange facts and
reports of facts: his book, being written in the form of Annals, is convenient
for consulting. For the rest, he is acrid, exaggerated, occaionally altogether
perverse; and, with his hastes and his hatreds, falls into the strangest
hallucination; as, for example, when he coolly records that... D'Orleans
Egalité had "a pair of man-skin breeches,"- leather breeches, of
human skin, such as they did prepare in the tannery of Meudon, but too late for
D'Orleans.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">Thomas Carlyle,
Critical and miscellaneous essays, Philadephia, 1852.(506)<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">Finally, here is a
firsthand account of, not the tannery itself, but of the idea of it:<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;"><o:p> </o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">It was whispered that
some [members of the Convention in a procession] had men's skins from the
tannery of human leather established at Meudon.... I neither affirm nor contest
this. But what I can state with confidence is that everybody then believed it.
Despite the terror which then ruled, this was said more or less out loud; in
Meudon above all no one doubted it and the inhabitants of this village pointed
out, with a mysterious terror, the windows of the low room of the chateau where
according to them this terrible operation took place... And why not? Do you
think it was a great slander on many leaders of the revolutionary government to
suppose them unscrupulous enough to make close-fitting pants with the skin of
their victims?... Cannibals could have taken lessons in ferocity from those
people.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="FR" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: FR;">George Duval, Souvenirs de
la Terreur de 1788 a 1793, (Paris, 1842) (355).<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">- ENTIRE HUMAN SKINS<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">Some tanned human skins
were displayed as-is. Pepys records this visit in his diary: "Then to
Rochester, and there saw the Cathedrall, which is now fitting for use, and the
organ then a-tuning. Then away thence, observing the great doors of the church,
which, they say, was covered with the skins of the Danes," Pepys, April
10, 1661. A note to the above says:<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;"><o:p> </o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">Dart, in his
"History of the Abbey Church of St. Peter's, Westminster," 1723 (vol.
i., book ii., p. 64), relates a like tradition then preserved in reference to a
door, one of three which closed off a chamber from the south transept--namely,
a certain building once known as the Chapel of Henry VIII., and used as a
"Revestry." This chamber, he states, "is inclosed with three
doors, the inner cancellated, the middle, which is very thick, lined with skins
like parchment, and driven full of nails. These skins, they by tradition tell
us, were some skins of the Danes, tann'd and given here as a memorial of our
delivery from them." Portions of this supposed human skin were examined
under the microscope by the late Mr. John Quekett of the Hunterian Museum, who
ascertained, beyond question, that in each of the cases the skin was human.
From a communication by the late Mr. Albert Way, F.S.A., to the late Lord
Braybrooke. <o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">THE DIARY OF SAMUEL
PEPYS M.A. F.R.S. WITH LORD BRAYBROOKE'S NOTES EDITED WITH ADDITIONS BY HENRY
B. WHEATLEY F.S.A.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">According to Le
Cicerone de Versailles, printed under the Revolution (floreal, year XII),
"The cabinet of natural history created in the palace of Versailles, year
IV of the Republic, held... 'a human skin, white, and tanned with the greatest
care, on which the hair and the nails were preserved' " (IC 1869 (395)).
L'Itineraire de la France is quoted as saying that the museum of Nantes had the
well-preserved skin "of a Republican soldier, killed in 1793 by the
Vendeens during the siege of Nantes." (IC 1874 (179)). "An old
Nantais" saw this in 1887 in the Museum of Natural HIstory and said that
it belonged to a drummer of the armies of the First Republic who had left it to
the Nation. (1910-2 (771)). An 1890 item entitled "A crucifix of human
skin" may or may not be about that exact subject. The writer saw this crucifix
- really a life-sized Christ, known as El Santisimo Cristo - four times at
Burgos. Though sometimes credited to Nicodemus himself, it appeared to be
either medieval or sixteenth century. He offers a long list of quotes on it by
other writers, variously saying that:<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;"><o:p> </o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">The hands and the feet
are really covered with slightly wrinkled human skin... The nails still stick
to the skin... The wooden head is fastened to the bust with a perfectly adapted
piece of skin.. Is it human? We think so...<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">or that it is an
entire, stuffed, human skin, or the skin of a seal put on a human skeleton, or
a wooden sculpture covered with a buffalo's skin. (18990 (537-538)). Anyone who
wants to do a search on "Burgos Christ skin" will find various modern
references like the following:<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;"><o:p> </o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">Christ, so revered at
Burgos that no one is allowed to see it unless the candles are lighted, is a
striking example of this strange taste: it is neither of stone, nor painted
wood, it is made of human skin (so the monks say), stuffed with much art and
care. The hair is real hair, the eyes have eye-lashes, the thorns of the crown
are real thorns, and no detail has been forgotten. Nothing can be more
lugubrious and disquieting than this attenuated, crucified phantom with its
human appearance and deathlike stillness; the faded and brownish-yellow skin is
streaked with long streams of blood, so well imitated that they seem to
trickle.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">http://www.oldandsold.com/articles04/article1494.shtml
<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">- ZISKA'S DRUM<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">The idea that the skin
of the Hussite commander Jan Ziska was turned into a drum, possibly at his own
request, was also debated in the Intermediaire. In 1843, the Magasin
Pittoresque published an article on Ziska which without confirming or refuting
this claim says (132): "It is sure that a drum made with human skin, said
to be that of Ziska, was, in the last century, transported from Bohemia to
Berlin." and cites a letter (November 15, 1743) from Voltaire to Frederick
which included this poem:<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;"><o:p> </o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">Is it true that, in
your court,<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">You have placed, this
autumn, <o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">Among the furnishings
of the crown, <o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">The skin of this famous
drum <o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">That Ziska made of his
person? <o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;"><o:p> </o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">The skin of a great
man, buried, <o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">Is normally not much,
and, despite his apotheosis, <o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">By worms is devoured. <o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">Only Ziska was spared <o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">The destiny of the
black tomb<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;"><o:p> </o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">Thanks to his preserved
drum <o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">His skin lasts as much
as his glory! <o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">It is a rather singular
fate. <o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">Ah! Pitiful mortals
that we are <o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">To save the skins of
great men, <o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">It must be dressed. <o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;"><o:p> </o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">Oh my King! Conserve
your own; <o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">Because the good Lord
who made it for you <o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">Would not know how to
make you another <o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">In which he might put
as much wit.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">Frederick's response,
starting in verse but ending in prose, basically says, "Yes, we took
it." The article includes an image of the (rather banal looking) drum,
itself copied from another work. A writer in the Intermediare says, based on
work by Palacky, a historian of Bohemia, that "The Magasin Pittoresque...
has repeated.. a purely fictive tradition, invented by Catholic historians to
give Ziska the fierce character of a bandit." (1869 (641-642). George
Sand, who wrote a book about Ziska, mentions this tale and its history with, at
best, ambivalence.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;"><o:p> </o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">For more about Ziska,
search for his name in the Catholic Encyclopedia's article on
"Hussites".<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;"><o:p> </o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;"><o:p> </o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;"><o:p> </o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">==============================================================<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;"><o:p> </o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">A Brief History of the
Human Leather Trade, 1903<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">Added By: R. Brock<span style="mso-spacerun: yes;"> </span>On: July 14, 2010<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;"><o:p> </o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">Ogden Standard, Ogden
City, Utah25 April 1903<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;"><o:p> </o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">TANNING HUMAN SKIN<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;"><o:p> </o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">--------------------------------------------------------------------------------<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;"><o:p> </o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">Happening to come
across the other day the catalogue of a book auction in 1864, when a book on
the Constitution of the French Republic, bound in human skin in the year 1793,
was offered for sale, a book lover was prompted to inquire whether the human
skin had ever been put to such a use before or since.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">The inquiry led to a
number of surprising revelations. It was not merely during the excesses of the
French Revolution that such things were done, but as long ago as the thirteenth
century he found there were in existences several such books, including a Latin
Bible very handsomely engrossed upon a woman’s skin. In 1765 the “French
Encyclopedie” gave a recipe for tanning human skin, and stated that M. Sue, a
surgeon in Paris, had presented the King with a pair of slippers made of human
skin, according to this prescription.<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;"><o:p> </o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;"><o:p> </o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">During the reign of
Napoleon III, a copy of the Decretals, written on human skin, was found in the
library of the Sorbonne and transferred to the Tulleries. John Ziska, the
one-eyed chief of the Hussites, ordered in his will that his skin should be
tanned and made into a drum. “The noise which my skin will make,” said he,
“will frighten away all our enemies and put them to flight.”<o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">It was, however, at the
time of the French Revolution that this art was developed to its greatest
extent. A man presente himself one day at the bar of the Convention and
announced that he had devised a simple and original scheme for procuring
leather in abundance. The Committee of Public Safety granted him a concession
of the Castle of Meudon, where he carried on his work with a certain amount of
secrecy. In return for the concession of the members of the committee were
privileged to be among the first to wear top boots made of human skin.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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</span><br />
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">The tannery of Meudon
acquired considerable notoriety. A great number of books were bound with the
leather turned out there, and Phillipe Egalite, Duke of Orleans, encouraged the
tannery by wearing a pair of breeches made there with human skin at a ball in
Palais-Royal. The republican General Beysser, who made himself a name by his
ferocity in the wars of La Vundee, set the fashion of wearing similar trousers
in the army, always wearing a pair at battles and at reviews.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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</span><br />
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">An old soldier who had
taken part in most of the campaigns of the French Revolution, told a writer of
memoirs in the middle of this century that he had owned a specially fine
garment of this kind, made entirely of one piece. An architect, who was one of
the leaders of the infamous Black Band of France in 1823, which for a long time
terrorized the country districts in the West of France, wore a jacket made of
human skin, comely and exceedingly comfortable.<o:p></o:p></span></div>
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</span><br />
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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</span><br />
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">The infamous
Saint-Just, when at the height of his power during the Reign of Terror, caused
a young and beautiful girl, who had refused his advances, to be arrested and
sent to the scaffold. After the execution he obtained possession of the body,
flayed himself and had the skin tanned and made into a waste coat, which he
wore till the day of his death. The tannery of Meudon and its imitators carried
on the process on an extensive scale, and must have made a good deal of money
by tanning the skins of the victims of the Revolution for every sort of
commercial purpose.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">Oil extracted from
human bodies was also placed upon the market and sold.<o:p></o:p></span></div>
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</span><br />
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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</span><br />
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">Since those days the
process has naturally become much rarer, but Dibdin relates how at a
comparatively recent date a collector possessed a treatise on sport bound in
stag’s skin; a copy of Fox’s “History of James II.,” bound in fox’s skin and a
book on anatomy bound in human skin. In 1837 the narrative of the adventures of
a highwayman was bound in his own skin at Boston, Mass., with inscription in
Latin outside, “This book was bound in the skin of Walton.”<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;"><o:p> </o:p></span></div>
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</span><br />
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">Shoes of Human Skin,
1879<o:p></o:p></span></div>
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</span><br />
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">Added By: R. Brock<span style="mso-spacerun: yes;"> </span>On: January 22, 2010<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;"><o:p> </o:p></span></div>
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">Titusville Herald,
Titusville Pennsylvania28 August 1879<o:p></o:p></span></div>
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</span><br />
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;"><o:p> </o:p></span></div>
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">THE SKIN OF A BELLE<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;"><o:p> </o:p></span></div>
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">--------------------------------------------------------------------------------<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;"><o:p> </o:p></span></div>
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">Silly Freak of a
Medical Student Who Encases His Feet in Human Leather - Robbing a Beautiful
Corpse of its Covering<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">--------------------------------------------------------------------------------<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;"><o:p> </o:p></span></div>
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">A few days ago we
reproduced from the Lafayette Courier an article that seemed to us to be the
silly boasting of some fledgling sawbones. In order to ascertain whether or not
there was a substratum of truth in the story, we telegraphed our Lafayette
correspondent, and instructed him to furnish us with the facts in the case.
Last night we received the following letter from him:<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">Lafayette, Ind, August
5<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">Several days since the
Evening Courier, of this city, published a somewhat lengthy account of a young
doctor in this city having worn a pair of shoes from the skin of a Cincinnati Belle.
The story, as told by the Courier, your correspondent is assured, was
substantially as reported by well authenticated rumor to the city editor of
that paper. In the account it is stated that “the young student said he was one
night sought out by a resurrectionist famous among the medical men, who offered
to sell him a subject just snatched from a city cemetery. How the corpse, that
of a beautiful young girl, whose white flesh and the costly ring on her smooth,
soft hand, showed to be of no poor family, was bought by several of the
students, and now, when the body, slashed by the knife of the dissector, lay
upon the table, he crept in and cut the skin from the “round limbs.” This was
sent to a tanner, who in due time prepared the skin and sent it by express to
the young student in this city. The leather was then taken to a well-known
shoemaker, who fashioned it into a pair of shoes.<o:p></o:p></span></div>
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</span><br />
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">The representative of
the Enquirer sought the young man, Edward Carnahan, this morning and learned
from him the following, which is submitted as the result of the interview:
Carnahan attended the Miami Medical College of Cincinnati during the past
collegiate year. His attention had been called to a pair of boots of a dark
olive color on exhibition at the Centennial. They had been made from human
skin. A great many people who saw the boots naturally revolted at the idea.
There were various opinions upon the matter. How it affected Carnahan I know
not. Last winter, on one occasion having paid for the subject assigned him and
his fellow student, he felt privileged, in the callous license of the
dissecting room, to use it as he deemed proper. He cut from the body a portion
of the skin. He did not know who the corpse was. The personal identity of the
subject was never established, even to the demonstrator himself. Having secured
the skin from the body, it was given to a Cincinatti tanner, and about five or
six weeks ago was sent C.O.C. to young Carnahan. He made no secret of it. He
received it publicly. The shoemaker, Mr. Filt, made the shoes. The only part of
the shoes which is human skin in the upper. The leather is as soft as kid. It
has the texture of the best French calf, and is only distinguished from that
leather by the human pores distinctly visible in the olive color of the under
or untanned side. The story about the ring, as well as the identity of the
subject as a Cincinnati belle, was an embellishment for which the young student
is in no way responsible. He is a young gentleman of the highest social position
and personal worth. The whole matter resolves itself into this: Out of mere
curiosity he desired a pair of shoes made from human skin, and he got them”<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<span style="font-family: Times New Roman; font-size: small;">
</span><br />
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">Accompanying this
letter were a number of others from reputable parties in Lafayette, vouching
for young Carnahan’s respectability and social standing, and requesting us to
keep him name out of the paper. We have not desire to be hard on any young
person, and, had his offense been simply a student’s freak, these letters might
have had some weight with us, though our mission is to print, not suppress. In
this case, however, Carnahan has shown much heartlessness and contempt for the
dead that we loath to believe him a fit and proper person to minister to the
needs of the afflicted living. He had better turn his attention to some
business requiring little or none of the finer sensibilities of humanity.
Quarrying granite might afford him the proper field for the exercise of his
peculiar talents.–Cincinnati Enquirer<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">http://www.devilspenny.com/2010/01/shoes-of-human-skin-1879/<o:p></o:p></span></div>
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<span style="font-size: small;"><span style="font-family: Times New Roman;">
<o:p></o:p></span></span></span><br /></div>
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<span style="font-family: "Garamond","serif"; font-size: 8pt; line-height: 115%;"><o:p> </o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 8pt; line-height: 115%;"><o:p> </o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 8pt; line-height: 115%;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 8pt; line-height: 115%;"><o:p> </o:p></span></div>
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Egmond Codfriedhttp://www.blogger.com/profile/10597005835134961469noreply@blogger.com0tag:blogger.com,1999:blog-1401624891557825179.post-90967859480039161552013-08-13T08:08:00.003-07:002013-08-28T07:58:13.241-07:00<br />
<h3 class="MsoNormal" style="margin: 0cm 0cm 10pt;">
</h3>
<h2 class="MsoNormal" style="margin: 0cm 0cm 10pt; text-align: center;">
<span lang="EN-US" style="mso-ansi-language: EN-US;">IF YOU
BELIEVE THE PAINT ON ALL OLD MASTER PORTRAITS HAD DARKENED, YOU AT LEAST
CONFIRM THE IMAGE SHOWED A DARK PERSON.</span></h2>
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</div>
<h3 class="MsoNormal" style="margin: 0cm 0cm 10pt; text-align: center;">
FAKE OVER PAINTS OF ALL OLD MASTER PORTRAITS IN ALL MUSEUMS.</h3>
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</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyNrVK0afnQSk3OL7lhTOyVhObnH7wL0URee6OD_WOuCoIqq8A9oPIxm-IMvDHIycUYBwjkXu7oJVbe9F5097bGyV7ScP3GFnIQlfLYCXY4EDS_sThgrSy2RJrtjRuLIx_LGvX2jUCcz-t/s1600/beethoven,+Francis_Pelichek_-_Retrato_de_Beethoven,_1920.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyNrVK0afnQSk3OL7lhTOyVhObnH7wL0URee6OD_WOuCoIqq8A9oPIxm-IMvDHIycUYBwjkXu7oJVbe9F5097bGyV7ScP3GFnIQlfLYCXY4EDS_sThgrSy2RJrtjRuLIx_LGvX2jUCcz-t/s320/beethoven,+Francis_Pelichek_-_Retrato_de_Beethoven,_1920.jpg" width="263" /></a></div>
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<a href="http://upload.wikimedia.org/wikipedia/commons/6/61/Francis_Pelichek_-_Retrato_de_Beethoven,_1920.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://upload.wikimedia.org/wikipedia/commons/6/61/Francis_Pelichek_-_Retrato_de_Beethoven,_1920.jpg" width="263" /></a></div>
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Francis_Pelichek_-_Retrato_de_Beethoven%2C_1920.jpg</div>
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It looks like a bad over paint job, him being to dark, but confusingly it is dated 1920.</div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><a href="http://jkirkrichards.files.wordpress.com/2012/02/rembrandtdetail.jpg"><span style="color: blue; font-family: Calibri;">http://jkirkrichards.files.wordpress.com/2012/02/rembrandtdetail.jpg</span></a><o:p></o:p></span></div>
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">[Ugly, sickening,
fake beige and pink over paint. The brown spots are the authentic skin layer.
The whites pass this off as the authentic work, praising the white layers. It’s
just disgusting.]<o:p></o:p></span></span><br />
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">Many whites
in the arts world religiously believe that the paint on Old Masters had
darkened, which occasioned the paintings to be restored. It’s true that paint
can darken if the oil leeches out, or if the oil darkens. Yet you cannot ask
art lovers<span style="mso-spacerun: yes;"> </span>what the procedure really
was. In literature it is claimed the early restorers did not keep a record of
what they did to the paintings. A person might assume they added some chemical
to stop the darkening or something. But they did not. They just whitened the
hell out of these portraits with beige and pink paint, imitating the hand of
the original painter. But not always, it was often done in a crude way.
Sometimes even the family took to painting overnight to save money, but pressed
with a deadline and plastered on a sold pink or beige face. In the Mauritshuis
I saw a painting with beige paint spilled on the hair. As if the face was
covered with cut out paper to protect the hair, but the paint still spilled on
the hair at the edges of this protective shielding paper.<span style="mso-spacerun: yes;"> </span>Next we know from literature that such and
such a person was brown, swarthy, more brown then white etc. And we have
engravings taken from the painted portraits as they were produced to make cheap
copies. Painted copies were also made, were expensive, and took forever to be
delivered, and those are also duly whitened after 1848. So a rational person
might already deduce from what is said and written, and can be seen on the
portraits, is that they were over painted with beige, with the underlying brown
and black layers still highly visible. The dispute is if the paint really
darkened, and if so perhaps overnight as the engravings also show the dark
complexions.<span style="mso-spacerun: yes;"> </span>That is not feasible to the
rational mind. And finally while over painting the contours were not altered,
so we still can see about 10% of the elite having classical African facial
traits and frizzled hair. We know these go together with brown or black skin. <o:p></o:p></span></span></div>
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De Staalmeester or The Syndics of the Clothesmakers Guild (1662) by Rembrandt before and after restoration. Photo from 1880 by A. Braun showing what was claimed to be darkened paint. Yet soem Staalmeester also have strong classical African facial traits, like Joachim de Neve, second from right, and these facial traits often go togethet with dark skin, and frizzled hair. </div>
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Pastellist Liotard, a crudely whitened self-portrait. the hair is also lightened.</div>
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A member of the van Aerssen family, whitened after 1934.</div>
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The effect of whitening an image demonstrated.</div>
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Detail of Regentessen van het Oudemannenhuis by Frans Hals, whitened. Because all the regentessen look classically African, like the staalmeesters: the idea arose that all of the elite might have had brown and black complexions, with some also classical African in looks.</div>
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Bulckesteyn, Slot Zuylen.</div>
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This portrait made me think that the people were under some pressure to have all the portrauts whitened, and in some cases the family itself took to painting overnight, resulting in disasters like this one. There are many more like this. The face is a solid beige or pink mass, while the harnass still loks professional. In 'The Nobleman' by Isabelle de Charriere, Julie, the wayward heroine throws out the family portraits</div>
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An X-ray like this shows double paint layers in the face, indicating over painting to make the person white. This is what they called 'restorations' because the paint had 'darkened.' They falsified history, painting their brown and black masters out of history</div>
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Egmond Codfriedhttp://www.blogger.com/profile/10597005835134961469noreply@blogger.com0tag:blogger.com,1999:blog-1401624891557825179.post-10476181486577947132013-08-12T07:46:00.001-07:002013-11-27T05:36:41.581-08:00<h2>
DO YOU WANNA SEE A HOLOCAUST?</h2>
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<span style="mso-bookmark: _GoBack;"><span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">WILL THERE BE ANOTHER HOLOCAUST? <o:p></o:p></span></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">The age-old immigrant’s problem and the dreaded final solution <o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">When I write about the Netherlands and Europe as a result of my own investigations into cases in the media or about the similarities of 1933-1945 with today or about the personal descriptions of the European elite (1500-1789) as black people, I am accused by the Dutch of insults, discrimination and racism. It seems rather that white Dutch are perhaps not allowed to hear what black and colored Dutch citizens think about these matters, which concerns them as well. As if their views in this supposed democracy, are totally relevant to the white master race. So I write as researcher who wants to give something back to his nation, not with the intent to insult or to hurt and discriminate, but to give arguments against the daily barrage of lies, the hatemongering and stigmatizing in the media of groups of citizens I also belong to. Thus I reserve the right, for myself as part of the seriously beleaguered groups to defend myself. <o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">1881-1914 <o:p></o:p></span></span></div>
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<span style="font-family: Calibri;"><span lang="EN-US" style="mso-ansi-language: EN-US;">To this purpose my attention was recently drawn to the period 1881-1914 when by fierce anti-Semitic propaganda and pogroms, a great exodus of Jews from Europe took place. This also gave further rise to the Zionist movement and eventually to the founding of Israel. It struck me that the next period of Jewish hatred of 1933-1945 already succeeded after 52 years. Today 65 years after the previous run-up to the actual genocide and genocide in Europe there are serious suspicions and accusations again addressed at some minority groups like Blacks and Muslims. Everywhere sounds the call for their departure and expulsion from Europe. Switzerland recently chose for a banning of Minarets which to me evokes associations with the </span><span lang="DE" style="mso-ansi-language: DE;">Kristallnacht</span><span lang="EN-US" style="mso-ansi-language: EN-US;"> in Germany when during a national pogrom synagogues went up in flames, stores of Jewish Germans were vandalizing and Germans were forbidden to do business with Jews. The murder of filmmaker Theo van Gogh is reminiscent of the murder of a senior Berlin Nazi after which all Berlin Jews together had to pay a ransom. All Jews were regarded as complicit in this murder as today all Moroccans and Muslims would be guilty of the murder of Van Gogh. With the rise of the Nazis there already people who understood what was to come and many wealthy Jews and others brought their belongings in safety and departed on time from Germany and Europe. In time before fleeing had been made impossible. Just like the assimilated Jews then, today the supposed lack of integration of the fully integrated Blacks and Muslims is in discussion. They are also held liable as a group, for street crime. An issue that they, as individual and ordinary citizens can do nothing about. Indeed, in a modern society, law enforcement, crime prevention and crime investigation are exclusive tasks of the government and the police. The central question is whether we are heading to a Holocaust in the Netherlands and Europe and what is in store for the direct victims. <o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">Stigmatization by the State <o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">Jews were almost 600 years in Europe but were each time the accused perpetrators of social evils. And of disasters which they could not possibly have been guilty of, or of which they themselves had suffered damage. The national government made them the scapegoats for every administrative failure, economic downturn such as the collapse of trade fairs. And of natural disasters like the Black Death. Nevertheless, Jews were, throughout the centuries repeatedly explicitly invited by various national states and asked to help build the local economy. During the Middle Ages, the import of luxury goods from the Orient for the kings and nobility was outsourced to them. While the Jews were denied citizenship the national government gave them so called privileges, like "freedom of faith and the right to live in special districts. After some time as the Jews of the second and third generation effectively integrated and were socially successful the objections started against them began to accumulate and the Jews had to leave. In fear for their lives and leaving behind their possessions. The expulsion of Muslims from 16th century Spain, described in Black Renaissance gives a detailed picture of how the removal of a minority works. What is striking is that after the forced conversion to Christianity Spanish Muslims and Jews were called New Catholics, and up till the third generation were forbidden to hold public office. They were now completely assimilated, and met all the demands that society placed on them, were Catholics and ate the sumptuous pork dishes specially invented for ex-Jews and ex-Muslims, but were still not really a part of society. Their eventual expulsion and especially the looting of their wealth, was planned from the beginning. It seems to me that today we can recognize the same pattern against Blacks and Muslims. We have Blacks and Muslims brought here without the intention of the Dutch state that they would remain here. The complaint that they do not want to integrate is arguably a big lie with historic overtones. <o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">The exploitation of immigrants <o:p></o:p></span></span></div>
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<span style="font-family: Calibri;"><span lang="EN-US" style="mso-ansi-language: EN-US;">In the Netherlands one recognizes a similar pattern after they had invited the wealthy Portuguese Jews who were expelled from Portugal and lived there as' New Catholics. "William of Orange (1533-1585) was financed by Jewish donors, including one classmate who first had a Christian name. This country gave them only entrepreneurship in the slave trade, exploitation of slaves on plantations in the American colonies and the trade in products of slave labor, said Job Cohen. They paid for this privilege through high taxes. Nevertheless in the beginning they had no citizenship and lived in separate parts of towns. In Suriname the Jewish plantations were segregated in the Jewish Savannah on Suriname River. As in other European states the elite took loans from them, which were not repaid. There are historical precedents of special legislation which forbade paying back of these loans. These loans look to me as a legalized form of extortion and protection money to the elite in power. Many centuries later when Germany occupied the Netherlands, the Dutch cooperated to such a extent with the Germans that 75% of the Dutch Jews were murdered. They had been already one hundred forty-five years Dutch citizens, but were nonetheless considered 'subhuman' and killed as 'human animals' in the Nazi extermination camps. From my perspective, the Germans appealed to existing and already strong hatred against Jews in Dutch, which was updated and further fuelled by racist propaganda via the cinema, schools and media. Recently, during the Rembrandt Year, we even heard of a Nazi propaganda film that presented Rembrandt as victims of the Amsterdam Jews. It is therefore totally unacceptable to me when Dutch and Germans claim that they "we did not know, we just did our job." While it may be clear that the Nazi State, threatened all citizens and many non-Jewish were victimized as well. Besides the daily hatemongering like comparing Jews with rats, a disease spreading vermin, there were urban ghettos established, the </span><span lang="DE" style="mso-ansi-language: DE;">Judenviertel</span><span lang="EN-US" style="mso-ansi-language: EN-US;">. Already at the railway stations, at the beginning of the transport to the extermination camps the humiliation and violence began. While the Jews were stuffed in animal wagons for all to see. These are things that every citizen could see for himself or could have knowledge of. Queen Wilhelmina made at the beginning of the war three times, in her radio speeches from London, references to the German extermination camps. After which she kept silent on the fate of her Jewish subjects. So it is completely implausible to me that the Dutch knew nothing, as some still claim. The so-called ‘</span>PolitioneleActies<span lang="EN-US" style="mso-ansi-language: EN-US;">’ in Indonesia, was the genocide on the Indonesians who had declared independence after centuries of exploitation by the Netherlands, shortly after The Netherlands were liberated from occupation by a foreign power constitutes a further illustration of the argument in this essay. It’s this national lie, the denial of the national responsibility for the Holocaust which is of great concern to me today. <o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">Immigrants outlawed? <o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">Around this time, in the run-up to the Council Elections began the lawsuit against Geert Wilders of the PVV because of discrimination and incitement to hatred against minority groups. The prosecution initially refused to prosecute, but found itself compelled to do so by an Article 12 procedure by the Surinamese Dutch lawyer, Mr.G. Spong. At the beginning of the trial the District Attorney declared to consider an acquittal. Wilders wanted call on a lot of expert witness. So it appears that despite all the declarations, discourses and objections against Wilders because of his incitement to hatred, the campaign of Wilders does not appear to displease the Dutch State. It will rather give him a courtroom podium and thus make his victims, the immigrants, outlaws. He will now be openly supported by the State to stigmatize foreigners as enemies to the Netherlands. Wilders was right from the start supported by the media and journalism in the state media, which constantly presenting immigrants as thieves, drug smugglers, traffickers, pimps, rapists, and murderers and gay-bashers, in writing, image and sound. What is striking is that each immigrants group is accused of a different type of wrongdoing, so they view each other with distrust and even hatred. The old divide and conquer politics. This strategy also aims to eliminate all possible feelings of solidarity with well-meaning white Dutch and prevent existing attempts at dialogue. Even white gay men are pitted against Blacks and Muslims, while it’s a established fact that the Dutch government gives the churches the right to discriminate against gay people, to refuse and to dismiss. Gay people have always known that they can’t raise complaints of discrimination with Dutch police because it is the police themselves who harass them in the gay venues. Approaching them in an intimidating and humiliating way or at night in parks with sudden bright headlights shining into the bushes. And jeering them away from police stations as complainants of violence and threats. If there are immigrant gay-bashers than it is only because, at the lower secondary professional education in the Netherlands, the VMBO, they were taught that this can be with impunity. By stigmatizing persons who are in fact our fathers, mothers, brothers, sisters and children, as gay and as 'different', the oppressed and intimidated people are further divided. <o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">Segregation <o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">In recent times, around 1960, Surinamese, mostly Christians and Muslims like Turks and Moroccans were invited to the Netherlands to increase the (un) skilled workers arsenal. These groups were typically put to work in hazardous occupations like those in the steelworks factories. Meanwhile, after so many years, it appears that people who live around the Hoogovens exhibit a higher cancer rate, which does not bode well for the factory workers themselves. The new arrivals were immediately isolated in separate geographic areas and were not offered any language classes for integration. When the first generation after 1980, more than 30 years after their arrival, w ready to bring their families with growing children to the Netherlands, the scenario of negative stereotypes, social isolation and passive expulsion was started. The State began with the definition of certain groups as 'allochtoon' and started a 'allochtonen policy' by which a different policy was made for every single ethnic group. If the goal was integration and citizenship, why should Surinamese, Turks, Moroccans, Tunisians, Berbers and Kurds then have to integrate separately? This resulted in categorical and cultural institutions, distinguished by ethnicity, a further form of imposed social segregation. Then came the false accusation of refusal to integrate, after the government itself put these minorities at a disadvantage. Then followed the empty accusation that was constantly repeated in the media that members of ethnic groups were violent and were criminals. In addition after the attacks in New York on September 11, 2001 started the typecasting of Muslims in the role of religious fanatics and terrorists. Blacks were also stigmatized as drug smugglers and preparations for a policy was made to record their ethnicity. That would be followed by the registration of Roma and Sinti Dutch citizens who apparently 65 years after the Holocaust of the Roma and Sinti apparently still not have been integrated. The Dutch State started a new educational system of inferior education, the VMBO, with among the normal students, also those pupils who need special education because of behavioral problems and other learning constraints. So there can be no orderly education. VMBO also leads to nowhere; it does not offer a diploma. The children have not learned a single subject, let alone that they can write a normal letter. This has been done to put black, colored and Muslim students at a disadvantage and to establish and insure that the road to upward social mobility for them through education is cut off. Also, this creates a permanent underclass, a class of uneducated people, who in every way can be lied to, manipulated and exploited. <o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">The Allochtonen Question <o:p></o:p></span></span></div>
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<span style="font-family: Calibri;"><span lang="EN-US" style="mso-ansi-language: EN-US;">In the year 2010 there is an Allochtonen Question, just as centuries there existed a Jewish Question. Today we hear on radio and television how political leaders outdo each other in the sowing of hatred against those ethnic groups. Even worse in these to last week leading to the Municipal Elections on the 3rd of March. Meanwhile Polish workers are brought to the Netherlands at the expense of Dutch workers. They are also segregation, and excluded from social rights, healthy working conditions, fair wages, free housing and social services. Ultimately the Nazis chose in 1933 for a "Final Solution" an "</span><span lang="DE" style="mso-ansi-language: DE;">Endlösung</span><span lang="EN-US" style="mso-ansi-language: EN-US;">" by secretly preparing for a Holocaust against all European Jews. As "useless people" were identified the sick, the elderly and the disabled who were then concentrated in state institutions and killed. The hatred of Nazism turned against any other unwanted "animal people" as their own white German disabled citizens, black Germans, Roma and homosexuals. Black Germans were sterilized and had jobs as camp workers before they were gassed themselves. Netherland sent Jewish refugees back to Germany despite that the government was aware of the extermination camps. What is striking today is that the white commentators, the white men and women with high salaries who allowed commenting, discuss the matter very abstract. As if we a dealing with a purely legal philosophical problem. They always seem to leave in the middle how they really think about the arguments and how they look at immigrants and the future of the immigrants in the Netherlands. It seems like they keep all options open, by which in fact opt for the status quo and therefore in favor of the rejection of foreigners. In my experience, given the strange circumstances surrounding the mentally disturbed offender, the murder of Van Gogh was by the state to turn intelligentsia against the immigrants. If necessary, even compelled by the threat of murder. Every informed and rational people understand that you cannot regard a whole Moroccan nation as criminals and that the events of todays are suspiciously similar to those around the last Holocaust......<o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">Repeating history? <o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">The readers can now identify which stages in the process of dehumanization and expulsion of foreigners are already deployed. After the German invasion the Dutch population was groomed by a propaganda campaign that stigmatized Jews as exotic, as monsters, parasites and rats, which cause famine and war and who seduce Christian virgins. In 1940 Dutch officials helped the Nazi occupier to identify Dutch citizens as Jews according to Nazi regulations. The Jews were then dismissed from state service, and had to wear a yellow star. Then the liberal professions were forbidden to them. The Jews had to submit all their valuables and securities, with the sly promise that they would be reimbursed. Circumvention of these laws and regulations made people immediately punishable. Next they were forbidden to use public transport and bicycles, and the Dutch could no longer work for Jews. After this rapid social segregation the Jews were next concentrated in specific Jewish neighbourhoods, the Judenviertel. The comfortable furnished houses were taken over by members of the NSB party. Then they were deported to concentration camps after they had been already mistreated, and stiffed into animal wagons. After arrival a part was were immediately gassed or injected with poison in the heart. The residents living around the camps were witness to the terrible smell and ongoing outpouring of white ash from the destruction ovens. Meanwhile, there were constant raids, violent street arrests and public executions. Even small babies who were given in hiding by their Jewish parents were arrested and deported to the camps which proofed that the Jews were not sent to labour camps. The aim was the destruction of ALL Jews but this could not cost the State any thing. That’s why the robbing of Jewish property was an essential part of the operation. A part of the Dutch Jews survived the camps and after the liberation of The Netherlands returned home they were confronted with "De kleineSjoah (The Little Shoah)" which according to Isaac Lipschits made them notice that they were not welcome. Their goods with returned with great difficulty. Even what the Dutch government itself had seized, was not readily returned to the Jewish owners But soon after it was taught to the Dutch to claim about this period "that they had not known and they had simply done their job". The result is that 75% of Dutch Jews perished while until today, according to GertMak, the Dutch do not know the cause. The cause must therefore be sought in the existing hatred of Jews and the great help the Dutch have offered to the Germans receiving a fee from Nf 7.50 to Nf 40 per Jew. Of course, there were many non-Jewish victims, many principled Dutch giving hiding and were part of the Resistance. But that group is too small to determine the image, just like almost everyone today is silent about the right of immigrants to a life in the Netherlands. It is as if all the Dutch people are already reconciled with the idea of foreigner’s free Netherlands. <o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">Should we flee? <o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">Unlike the Jews, the Blacks and Muslims today at least in theory, have a homeland but they are in majority 'foreigners' born of mixed marriages and / or raised in The Netherlands. So the half-immigrants and immigrants to use Nazi jargon, have therefore no significant ties with the Third World countries of their one parent or grandparents. These countries are in no way prepared to harbor the influx of refugees. The local population sometimes has a negative outlook on these immigrants because they have become Europeans and are, almost always, promoting European interests. Yet they have to flee because the jinni is already out of the bottle and the Netherlands clearly dashing to a "final solution.’ It looks intently at the success of the Wilders' PVV party with whom others just hope to cooperate instead of fight. Green Left, FemkeHalsema (Groen Links) is against the closure of the Red Light district where illegal women are prostituted by force but she is "concerned" about "oppressed" Muslim women with headscarves. The SP in The Hague misuses a hype about 'corporal punishment' during language lessons in mosques for children c to stigmatize Muslims as bullies, and thus offers an alternative to Wilders in the upcoming municipal elections. This reminded me of the medieval allegations of the Jews of abducting Christian children to bleed them to death for the preparation of matzos breads. <o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">Revisionism and State Racism <o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">After thirty years of residence and the discovery in 2008 of my Blue Blood is Black Blood Theory (1500-1789) and thus the cause of racism against Blacks, I understand that it is no coincidence that "allochtonen" are systematically isolated and put at a disadvantage. My theory which states that racism can be deconstructed as an exaggerated liberation ideology to liberate Europe from a black, noble and royal domination. The elite of this period is described as black and colored, black, brown, more brown than white, the black boy, swarthy, black as chimney, chimney sweeper, basané, not the white hands, bad complexion, very dark; but in museums today are shown as white. They applied whitewashed to images that sometimes are authentic black portraits or created whitened copies for propagandistic motives, because the white underclass constituted a numerical majority. With whitewashed portraits or by wearing white makeup, the dominant black elite gave an illusion of legitimacy. There was however an Reversed Apartheid, so all the big names from this period can be associated with black portraits. William of Orange, Elizabeth I, Louis XIV, Charles V Habsburg, Voltaire, Rousseau, Van Beethoven and Goethe. The French Revolution put an end to the Ancien Regime, which is a black and colored regime where the high nobility identified with the many images of the Moor (another name for classical Africans) and the heraldic Moors. Today European scientists claim not to know why there are so many images of Moors in western art. The kings and nobles were apparently also recognizable by their black and colored looks as nobility. Reasons why in the lead up to the French Revolution they were painting their faces white as a sign of equality. The highest nobility is called blue blood, which was a reference to blue men as how the Blacks in the European Middle Ages were called. White Europeans are only 6000 years in Europe and come from Central Asia. Whites, who are descendants of albinos, differ from Blacks only in color. Were the first Europeans who were Africans had been 43,000 in Europe, proofed by the discovery of the Grimaldi Man. Europe's high nobility and kings were descendants of the original black Europeans and were an intermarrying fixed ‘mulatto race’ between very light and very black. Some, like William of Orange and his brother John VI, Count of Nassau, also with a black or dark brown skin and strong classical African features. <o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">White supremacy <o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">White supremacy is the belief that white people are carriers of civilization and intellectual, moral and physical advantage over Blacks and colored people and is based on whitewashed and faked portraits of rulers, scientists and intellectuals who identified themselves as black and were described and depicted as blacks. Racial science and a racial hierarchy between races - there are no races, only phenotypes - is designed to hide the domination by blacks Europeans. This black elite Europe gave civilization, but was also cruel and despotic in maintaining its power. Their appreciation for their white citizens was best illustrated by the use of human skin for the binding of valuable works. The strive for acceptance of the Declaration of the Rights of Human Rights was to free whites from black supremacy. The revolutionary elite declared the symbol of the Moor, a important symbol of black superiority, as animalistic, ugly, cruel, morally inferior, afflicted with diseases too; and therefore racism is a liberation ideology. Whites regard themselves as superior because of racist indoctrination by the State today and are convinced of their ethnic superiority. Today, in Amsterdam-West foreign schoolchildren will be "medically screened" to give them an early stamp of mental inferiority compared to their white peers. The whites and their House Negroes, benefit from a situation of inequality so they will never take action to end the disparity between black and white. They always respond with great denial, anger and even mockery to people and arguments that go against white supremacy. Experience shows that even the mildest mannered white person becomes a fire-breathing Nazi when I start on that William of Orange and his many wives were black and colored women Europeans. They react with fear when I say that Beatrice descended from black European people, and the classical type of Africans in looks. There is really absolutely no possibility of a rational exchange with white people when white superiority comes into question. As if they have learned through education and media that blacks are never right. Sometimes people say openly that if the whites do not oppress Blacks, the Blacks will suppress the whites. This can be attributed to the Ancien Regime, a black regime. The question is whether this threat is still playing after many hundreds of years. It is very strange to me as person when I present personal descriptions of King Charles II Stuart (1633-1685) as The Black Boy, a tall black man and The swarthy Stuart and also four engravings that show a man with a pitch-black to black skin tones, whites still insist they see no black man. Or that he would be a black Caucasian, or an African Caucasian like Somalis and Ethiopians would be: thus belonging to the Whites. These are often pitch-black people, sometimes with narrow noses and thin lips that nonetheless are part of the white master race. J.A. Rogers (1941) found that these so-called African Caucasian on arrival in America are never treated as whites, but like Blacks. <o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">Origin of the white skin color <o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">Further, whites respond very strange on my assertion that whites are descended from albinos. In nature, all white life forms come from albinism. Albinos are, compared with the colored types completely normal, but should only take precautions before they go into the sun. This is due to the inability to make melanin, which protects the internal tissues and organs from the harmful effects of the rays of the Sun. White flowers are obtained by breeding albino seedlings among themselves over several generations until pure, sustained white seed is won. Human albinism also has a hereditary factor because there are complete albino families. 25% of the offspring of two albinos’ can be albino too. The majority of albinos are found in Africa and in Tanzania the highest percentage. Whites are only 6000 years in Europe and came from Central Asia. Blacks have been 43,000 years in Europe proven by the remains of the Grimaldi Man The Moors in many European images of Western art, Black Madonna’s, and many paintings of a black Jesus, are further indications that the European elite (1500-1789) was black. They considered blacks superior to whites, so a white god meant nothing to them. Perhaps the white DNA, like with migratory birds, was attracted to sunless northern climates which are more consistent with the albino phenotype. Albinism is indeed a radical adjustment to the environment, perhaps a survival mechanism that was acquired through the long road that human DNA's travelled from the beginning of life on earth. Since the first Man was black, all human phenotypes are present in the black man so there is no way the whites are superior to Blacks. <o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">State Racism <o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">Because of this knowledge, the experience of living among the Dutch and a long list of scientific facts, I think Europe has a long tradition of State Racism. That there is a recurring pattern of expulsion, pogroms and Holocaust on minorities since the French Revolution. Museums were apparently founded on the need of imposing state racism and revisionism. After the revolution there were periods of restoring the black identified nobility and the intellectual elite. The emancipation of white Europeans probably occurred only after 1848. Interestingly, "Great Men" as William of Orange, Leonardo da Vinci, Rembrandt and the Classical composers only where "discovered" well into the 19th century, after being whitewashed, and only then became part of history. Romanticism was a movement for an "authentic" European civilization and broke with the rationality of the Ancien Regime. Romantism chose instead 'feelings and emotion." Today it looks like these irrational "feelings and emotions” are back in full swing and are used against immigrants. It is therefore perhaps no coincidence that today, when the second and third generation immigrants are fully integrated and ready to enjoy the fruits of the labor of their parents and grandparents, they suddenly declared undesirable. The entire Dutch media is one united front against this group and they are not offered a podium to defend themselves. There is no opportunity for a rational assessment of the role and position of former guest workers and of the people from the colonies who were brought to remedy shortages of labor in The Netherlands. <o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">My motives for writing this essay <o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">Who writes, remains. I have also been severely harassed and obstructed in the publishing and publicity of my writings. Viruses were implanted to destroy my electronic manuscripts. I want to make the Surinamese and others aware of the dangers that threaten them and therefore give them a choice for flight to save their life and property. But, perhaps familiarity with the hazards which also threaten ordinary, white Europeans may lead to a change. Yet I’m afraid we are looking at the next ‘we did not know generation, we were just doing our job.’ It is important to realize that the genocide was planned on the foundation that its victims had to finance and execute their own destruction. Culemborg can be seen as a dress rehearsal of how two minorities, the Moluccans and the Moroccan as we observe how they actively or passively incited against each other. There is sufficient evidence and scientific studies that Jews were part of Hitler's army and actively involved in the genocide of Jews. A main instrument were the Jewish Councils (JoodseRaden) which loyally executed the Nazi orders against the Jews, even telling Jews not to flea or go into hiding. I therefore conclude that today the educated Black and Muslim leaders act like agents of the racist and genocidal state. Just like the former Jewish Council and its supporters who were ‘spared’ for some time, before they themselves were finally gassed. A sudden flight of foreigners, because the genocidal plans will not be announced via NETWORK or NOVA, to Suriname, Morocco, Turkey, Ghana, Somalia and Pakistan should lead to a forced sale of property at much lower prices. By the decision not to prosecute as expressed by the OM against Wilders, the Dutch state is de facto making discrimination against foreigners legal. And immigrants can no longer count on an equal treatment by the legal system. People will, if they can still get away, leaving their beautifully furnished homes, and arrive destitute in a country like Suriname and will be homeless without any help from the Surinamese. Who themselves are very poor, and kept on a tight leach by their own unpleasant elite. The Holocaust was a inter-European affair so the danger can come from outside the Netherlands as well. I like to believe that I am wrong, I like to believe the people who say that it will not go this way, that power is distributed diffusely in the Netherlands." That it will be all right. That such a thing today is no longer possible. Unfortunately this is precisely the fate of the black Surinamese in the Netherlands like Anton de Kom, the German Jews, Germans blacks who are today never mentioned, gay’s, Roma’s, Poles, Jehovah's Witnesses and the disabled were told in 1933-1945, and see the result. <o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">Den Haag <o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">January 2010<o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">09-04-2012, 10:10 AM <o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">UPDATE ESSAY ‘WILL WE HAVE ANOTHER HOLOCAUST?’<o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">This historical essay is part of a 30 page, illustrated brochure, which offers many bibliographical sources and general, background articles regarding the Holocaust. And uniquely, offers research about the 50.000 Black nazi victims who are never mentioned in the conventional WWII research and celebrations. It offers little known facts that are withheld from the public at large, as this would enable them to fully understand what really happened during the last Holocaust. And shows that the today migrants, like the Jews; were never intended to become Europeans. A detailed description of events and measures against the Polish and German Jews offer signs to look for, to evaluate if or when to flee. The Dutch Surinamese, as intended victims, are hereby offered a fair chance. The Surinam government is invited to prepare for 100.000 refugees.<o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">The Holocaust was not an unfortunate incident but a recurring event staged by the State, after every two generations; to rob and kill its already segregated ethnic and other minorities. Always a carefully prepared long time plan, preceded by a judicial infrastructure, supported by all the state institutions, inter-European, and with close collaboration by the leaders of the victimized groups themselves. Although ostensive but misleadingly presented as against the Jews, many other groups were targeted during WWII, like Blacks, while the robbing of the victims was the first priority, before murdering them, and collecting their golden tooth fillings. <o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">The main objective is to warn all the intended victims of the next Holocaust: Black, colored and Muslim Europeans, and what they may expect. My intention is also to warn the government of Suriname that a great part of the 700.000 Dutch Surinamese, many borne and indoctrinated in a Dutch oriented worldview, may arrive as traumatized and destitute refugees. Many will be half-whites, who never saw Suriname; with potentially unreasonable expectations. But there will be less destabilizing political wrangling and hardship if detailed preparations are made for their temporary housing, resettlement, re-education and speedy re-absorption. Because of the treaties; Surinam will find itself forced to grant these essentially Dutch Europeans full citizenship rights after just two years of stay. This uprooted and unhappy group will also be permanently cut off from the privileged rights and benefits that went with a Dutch passport, including the right to return to Europe to reclaim their lost property. <o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">Since my visionary essay was published in January 2010 a lot has come to pass. Suicide bombers, allegedly shouting ‘Allah’ have reached the shopping streets of Sweden. The genocidal US is throwing up its own smokescreen by unleashing documents through the fake Wikileaks, the so-called whistle blower site. A victorious Bouterse became president to ‘all the Surinamese’ to the great dismay of the Dutch minority government and its housenigger minions. As financial grants are stopped to punish the Surinamese for democratically electing Bouterse, the Surinam intellectual leadership is automatically turned against the new policies. As they were the true beneficiaries of these financial crumbs anyway, a microscopic part of the 50 billion euros the Dutch have reaped from Suriname in 350 years of slavery and colonial exploitation.<o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">One American political trend watcher of note, Gerald Celente was quoted on the 20th of September that there will be ‘Ethnic Cleansing on a large scale against Muslims in Europe’ between 2012-2016. Which confirms my research that such would happen within 5 years. But like the last Holocaust, not only against this ostensive accused group, as were the Jews then, but against all minorities: ethnic, sexual, the disabled and the senior citizens who criminally overstay their allotted pension period and needlessly drain the dwindling pension funds by refusing to die. Again the accused group is pinpointed as the cause of the present economic and security crises, which they have nothing to do with as they lack either economic or political power. They are now simply accused of threatening Christendom, democracy, and support ‘terrorism;’ as how the national liberation seeking international Black and Arab activist are labeled. There is much to do about dual citizenship, but only in regard to Turks and Moroccans.<o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">There are Black Surinamese who have a strong believe that as integrated citizens, pious Christians no less, and Dutch passport holders; they are immune against any of these harms. But then they have not considered the disturbing press reports about ethnic registering of the Dutch Antilleans (Blacks and colored’s) who have always remained colonized Dutch citizens. As well as the still marginalized, Dutch Roma and Sinti, whose ancestors the Nazi’s actively murdered.<o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">Most alarmingly; the ‘they are criminals’ accusation is now completely replaced by a whole sale stigmatizing of Muslims that the Koran is a violent book and Muslims are ‘programmed’ by their creed to colonize Europe. So now, even the fully integrated, law-abiding and secularized majority of Muslims are a dangerous fifth Colonna. Suicide attacks by men calling ‘Allah’ in Sweden, should be considered the final stage before actual violence is unleashed against minorities. The always active neo-Nazi youth, and those mighty Europeans who have always openly praised the Nazi’s and the Holocaust; might have shed their thug like image, but will be the next violent Hitlerjugend. This time there will be even more dead bodies, as we have for long time been desensitized to violence and dead.<o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">As predicted, Wilders is now the most powerful Dutch politician, because of a fractured election result and a ‘royal’ sleight of hand, which scrambled The Netherlands into a minority VVD/CDA Cabinet, propped up by Wilders’ PVV party. His party remains a single-issue party with no party-membership, no ministers or any executive positions. Anti-minority measures are proposed like there is no tomorrow. As if European states compete as crusaders; who will have the greatest historical distinction to have cleansed Europe from its foes. The German Angela Merkel, like a present day Queen Isabelle de Castile, did her bit and patiently urged Muslims to learn German. Then, it was a final warning to the Spanish Muslims who were next given three days to leave, with only the few belongings they could carry themselves.<o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">The fixed case against Wilders was declared invalid from the start because of alleged prejudices with the court against Wilders. The court-president amateurishly remarked on Wilders’ tendency to walk away from any discussion when challenged, as Wilders asserted his lawful right to remain silent. And, for good measure, there were next instances of influencing the defense by the prosecution during private meetings. Even when they prepared to sue for ‘not guilty,’ anyway. On it’s postponement, Mohamed Rabbae, a complainant, said; ‘The fight against fascism starts now.’ FemkeHalsema has blessedly quit politics, her wholly unrealistic dreams of political éclat; to join a patchwork government; dashed. Other so-called leftist parties, rather oddly, refuse to join forces against the blatantly Holocaust mongering forces. She rather foolishly supported the armed Dutch presence in US occupied Afghanistan, which disgusts the Dutch.<o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">Surprisingly Job Cohen, the new and uninspiring PVDA leader, whose study about Dutch Jews is referred to in my essay, commented in December that the ‘exclusion’ of the Moroccans today could be compared to that of the Jews during 40-45. Critics considered this as ‘defaming’ and not credible because this should be followed next by ‘a terrible harm’ against Moroccans. An occurrence, these critics do not judge feasible. Again echoes of the past: it will not happen, it’s not possible, and Europe is a civilized continent. However, opposition leader Cohen apparently never said such a thing, as he would be a blatant opportunist. His enemies rather seek to unmask him and dared him to speak out against the impending Holocaust. As during his city major tenure of Amsterdam he never ceased to stigmatize Moroccans. Claiming that the pressure to conform did well for Jews in the 19th century. I have always wondered how he then explained the 1881-1914 pogroms, and 1933-1945; that followed after the forced assimilation of Jews? With the first pogroms half of Antwerp’s Jewry, took flight to Amsterdam, and next; 50% being murdered in the concentration camps. Today the Dutch Jews seem pressured to show they deserve to be considered worthy and ‘true’ Dutch and to join with the half-Indonesian Dutch against the Muslim enemy. Joining hands with the renegade South Africans who dominate lily-white Dutch police. Poles are imported to fill positions from intentionally dismissed Dutch workers. After only a week in the Netherlands they piously announce they do not like Turks, Dutch citizens, having never met Turks before. <o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">In my essay and appendices I have pointed out studies that show Jews fully participating in the Holocaust against fellow Jews. Like the little known, but diligently nazi collaborating Jewish Council of Amsterdam (1941-1943), before it’s members were gassed themselves. But this is the nature of these mass killings, to employ elements of the targeted groups to execute the murderous plans. Perhaps why Jews in general prudently keep silent. Like how Africans sold and how African-Europeans exploited their African brethren in slavery. The slave mongering European elite was Black, described as brown and black complexioned, and self-identified as Black. Another warning to the Surinamese to be wary of leaders like parliamentarian Ferriër who choose to remain part of the CDA; even while it’s PVV partner proposed active discrimination and removal of Muslim citizens. While her CDA colleague, the Turkish Cöruz, a human rights specialist, was indignant that people expected him to speak out against a government supported by PVV.<o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">We can surmise that the corresponding Third World Countries are pressured; their corrupt elite paid off, not to interfere with these murderous plans. Perhaps the true reason for Holland’s uncompromisingly hostility against the Bouterse regime. It seems that the white Dutch are for now instructed to view the Surinamese in Holland as good, and integrated, hardworking people. But most likely history will repeat itself and Blacks will be used to murder Moroccans, before they themselves will be targeted. Meanwhile Surinam has been re-colonized by Holland, and this time by invitation, with the Dutch embassy underwriting every cultural event and even a Human Rights meeting with the local gay group.<o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">Yet I was re-informed about the ToescheidingsOvereenkomst (1975) treaty, that regulates the free personal traffic between the two nations. The TO was suspended in 1980, when the Dutch suddenly imposed visa-regulations, ending the unrestricted travelling. And next because Suriname refused implementing Article 5.2 to automatically grant returning Dutch Surinamese the Surinam nationality and full citizen’s rights. Like the right to elect and be elected; after only two years of residence or simple stay. I now understand that a wholesale flight of the Surinamese back home, will result in an involuntary lost of the Dutch nationality after only two years of stay. And the forfeit of rights and social benefits, like pensions. Surinam can be held ransom by withholding UN refugee aid, if they condemn these refugees to ‘statelessness. ’ This supports my analyses that the imported minorities were never intended to become part of Europe. Their exploitation, the stealing of their goods, the expulsion, and their murder was already foreseen, as it forms an essential part of what Europeans call civilization.<o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">Finally, my Blue Blood is Black Blood (1500-1789), also explains the hatred of Blacks as an essential element of whiteness, is further corroborated by my ‘Was Jane Austen (1775-1817) Black?’ research. As Austen herself is described as dark brown and not pink; she insistently wrote all her personages as brown or black of complexion, and discusses black oriented issues like Black beauty in Pride and Prejudice, The Watsons and skin bleaching in Persuasion, race-mixing in Emma, revisionism against Blacks and the loss of political power by the European Black elite in Emma and slavery in Mansfield Park, during the Regency Era, after the French Revolution (1789-1795). There are also a few sophisticated references to gayness in Sense & Sensibility, Mansfield Park, and Emma. Although she wrote political, self-help books for Blacks, today she has been miraculously turned into the epitome of white superiority, and improbable heterosexual virginity too.<o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">EgmondCodfried<o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">December 2010 </span></span><br />
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Beste NVVE,<br />
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Ik vraag mij al lange tijd af waarin de praktijken van de NVVE en haar 31 euthanasie teams verschillen van het nazie euthanasie programma (1933-1945).<br />
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Ik lees in de media zelf van gevallen waar zo een team een persoon bezocht die een verklaring getekend zou hebben, maar bij nader inzien niet dood wilde. <br />
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En dat men nu ook de rechter gaat inschakelen om te bepalen of zo een persoon toch dood moet. <br />
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Dit doet mij werkelijk aan een nieuwe holocaust denken, om eerst alle 'mensendieren' op te ruimen.<br />
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Egmond Codfried<br />
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">Aan de NVVE</span></span><br />
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;"></span></span><br />
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;"><div class="MsoNormal" style="background: white; line-height: normal; margin: 0cm 0cm 16.2pt;">
<span style="color: #1f497d; font-family: "Garamond","serif"; font-size: 12pt; mso-bidi-font-family: "Segoe UI"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">Geachte heer Frans Janssen,<o:p></o:p></span></div>
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<span style="color: #1f497d; font-family: "Garamond","serif"; font-size: 12pt; mso-bidi-font-family: "Segoe UI"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">Bedankt dat u de tijd nam om mij te antwoorden. Van mijn kant maak ik de
vergelijking met de nazi praktijken sinds 1933 omdat ik mij geen andere referentie
kan bedenken. Temeer daar ik niet eens ben met het algemene, geaccepteerde
verhaal over de Tweede Wereld Oorlog, welke ik kwalificeer als een gevaarlijke
fantasie. Ik ga ervanuit dat de euthanasiepraktijk in Nederland eeuwenlang goed
ging tot de regering onlangs aan het systeem ging rommelen, uit hoofde van
bezuiniging op de Zorg. (1)Vanuit mijn eigen onderzoek, neergelegd in een
historisch essay ‘Komt er weer een Holocaust?’(2009) geloof ik dat de Europese
staten zelf deze holocausten organiseren, als een reset, (2) en bij de laatste,
Duitsland de rol op zich nam om de Joden te vergassen, die door de
staatspolities waren verzameld en op transport gesteld. (3)De Franse regering
en de stad Brussel hebben inmiddels al toegegeven dat het verzamelen van Joden
door hen op eigen initiatief gebeurde en niet onder druk van de bezetter,
Duitsland. (4)Hoewel de Europese geschiedenis bol staat van Jodenhaat, Jodenvervolging,
pogroms, verjaging etc. beweert men in Nederland, dat zij niet wisten wat de
Joden (1941-1943) in Duitsland te wachten stond. Terwijl men tevens oma’s van 70
jaar en baby’s van 6 maanden op transport stelden naar vermeende ‘werkkampen.’ (5)De
Duitser Heinz Liepmann schreef al in 1934 ‘Het Vaderland’ waarin hij het nazi geweld
tegen Joden en in de concentratie kampen in Duitsland beschreef. Maar hij werd
op last van Duitsland in Amsterdam veroordeeld voor het beledigen van een
buitenlands staatshoofd. Men wist dus al in 1934 wat er in Duitsland speelde. (6)Tevens
lees ik in Nienke Hondius ‘Return’ en in Isaac Lipschitz ‘De kleine Sjoa’ dat
de Nederlandse staat al vóór, tijdens en ná vertrek van de Duitse bezetter anti-Joodse
maatregelen nam. (7)De Joden die de kampen overleefden werden beslist niet met
open armen verwelkomd, maar men sprak spijt uit dat ze aan vergassing waren
ontsnapt. (8)Verder heeft men ook Roma, Sinti en Zwarten vermoord, en over de
Zwarten praat men nooit alsof hun uitroeiing te rechtvaardigen is. (9)Nadat men
klaar was met de bejaarden, de zieken en gehandicapten die men uit
menslievendheid zou hebben ‘geholpen;’ werden ook de zogenaamde ‘asocialen’
waaronder de homo’s vergast. Kortom, ik denk dat wanneer de NVVE en haar ijverige
31 ambulante euthanasie teams klaar zijn met de zieken, bejaarden, en de geïnstitutionaliseerde:
zij hun aandacht aan gezonde, maar anderszins ongewenste burgers zullen
schenken. Ondergetekende? Allochtonen, wellicht? Bedrijfsdoelstellingen en
prognoses moeten immers gehaald worden zodat mensen als u werk zullen hebben en
inkomen, om uw hypotheek te betalen b.v. Het venijn zit in de reden van deze
nieuwe euthanasie woede, namelijk bezuiniging en wegwerken van wachtlijsten. De
rijken en hun bedrijven betalen geen belasting, en kunnen niet gedwongen worden
omdat de rijken alle instituties beheersen en geen rechter hen ergens toe kan
dwingen, dus zoekt de staat financiële ruimte door het aantal hulpbehoeftige burgers
te verminderen door euthanasie. Vanwege het kinderverkrachtingsschandaal in de
katholieke kerk weten wij hoeveel gewone burgers in Nederland in te brengen
hebben en hoeveel bescherming zij van de staat krijgen. Dus vanuit die
uitgangspunten kiest de staat voor euthanasie dat net als in de nazi tijd als
een weldaad voor de zieken wordt gepresenteerd. U hebt het zelfs over ‘emancipatie.’
De NVVE heeft een jubelende documentaire laten maken en lees ik, en beschouwt
2012 als een ‘top jaar.’ De juridische vereiste van ‘instemming’ is in
Nederland wettelijk <span style="mso-spacerun: yes;"> </span>losgelaten. Men
heeft ook eerst alle goedwillende artsen kopschuw gemaakt door willekeurige
rechtszaken, zodat de staat alle ruimte heeft om zelf op grote schaal te gaan
euthanaseren, wat al leidde tot een verhoging van het suïcide cijfer in
Nederland. Ik denk niet dat een discussie verder zin heeft, maar van mijn kant
zal ik mijn bezorgdheid en bezwaren kenbaar blijven maken. Ik dacht dat de E in
NVVE stond voor Euthanasie. <o:p></o:p></span></div>
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<span style="color: #1f497d; font-family: "Garamond","serif"; font-size: 12pt; mso-bidi-font-family: "Segoe UI"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">Hoogachtend. Egmond Codfried<o:p></o:p></span></div>
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<span style="color: #1f497d; font-family: "Garamond","serif"; font-size: 12pt; mso-bidi-font-family: "Segoe UI"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">Bluebloodisblackblood.blogspot.com</span></div>
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<span style="color: #1f497d; font-family: "Garamond","serif"; font-size: 12pt; mso-bidi-font-family: "Segoe UI"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;"></span> </div>
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<span style="color: #1f497d; font-family: "Garamond","serif"; font-size: 12pt; mso-bidi-font-family: "Segoe UI"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">==============================================<o:p></o:p></span></div>
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<span style="color: #1f497d; font-family: "Garamond","serif"; font-size: 12pt; mso-bidi-font-family: "Segoe UI"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">Van:<span style="mso-tab-count: 1;"> </span>Frans Janssen
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<span style="color: #1f497d; font-family: "Garamond","serif"; font-size: 12pt; mso-bidi-font-family: "Segoe UI"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">Verzonden:<span style="mso-tab-count: 1;"> </span>dinsdag 30 juli 2013
17:34:40<o:p></o:p></span></div>
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<span style="color: #1f497d; font-family: "Garamond","serif"; font-size: 12pt; mso-bidi-font-family: "Segoe UI"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">Aan: <span style="mso-tab-count: 1;"> </span>'egmondcodfried@hotmail.com'
(egmondcodfried@hotmail.com)<o:p></o:p></span></div>
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<span style="color: #1f497d; font-family: "Garamond","serif"; font-size: 12pt; mso-bidi-font-family: "Segoe UI"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">Aan: 'egmondcodfried@hotmail.com'<o:p></o:p></span></div>
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<span style="color: #1f497d; font-family: "Garamond","serif"; font-size: 12pt; mso-bidi-font-family: "Segoe UI"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">Geachte heer Codfried,</span><span style="color: black; font-family: "Garamond","serif"; font-size: 12pt; mso-bidi-font-family: "Segoe UI"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;"><o:p></o:p></span></div>
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</span><br />
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<span style="color: #1f497d; font-family: "Garamond","serif"; font-size: 12pt; mso-bidi-font-family: "Segoe UI"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;"> Ik zal kort op uw mail reageren, al weet ik dat een serieuze
discussie veel en veel overwegingen vraagt. </span><span style="color: black; font-family: "Garamond","serif"; font-size: 12pt; mso-bidi-font-family: "Segoe UI"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;"><o:p></o:p></span></div>
<span style="font-family: Times New Roman;">
</span><br />
<div class="MsoNormal" style="background: white; line-height: normal; margin: 0cm 0cm 16.2pt;">
<span style="color: #1f497d; font-family: "Garamond","serif"; font-size: 12pt; mso-bidi-font-family: "Segoe UI"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">De kern van de visie van de NVVE is de vrijwilligheid en instemming van
betrokkene. Veel mensen willen onder omstandigheden van slechte gezondheid voor
euthanasie in aanmerking komen. De Nederlandse wet kent sinds 2002 de
mogelijkheid dat artsen onder zorgvuldige eisen aan zo’n verzoek gehoor mogen
geven. <o:p></o:p></span></div>
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</span><br />
<div class="MsoNormal" style="background: white; line-height: normal; margin: 0cm 0cm 16.2pt;">
<span style="color: #1f497d; font-family: "Garamond","serif"; font-size: 12pt; mso-bidi-font-family: "Segoe UI"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">In de visie van den NVVE is dat een vorm van emancipatie: mensen krijgen
meer regie over hun levenseinde. Daarbij komt geen enkele vorm van dwang
te pas. Inderdaad is het mogelijk dat mensen een euthanasieverzoek opstellen,
maar dat later weer intrekken.</span><span style="color: black; font-family: "Garamond","serif"; font-size: 12pt; mso-bidi-font-family: "Segoe UI"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;"><o:p></o:p></span></div>
<span style="font-family: Times New Roman;">
</span><br />
<div class="MsoNormal" style="background: white; line-height: normal; margin: 0cm 0cm 16.2pt;">
<span style="color: #1f497d; font-family: "Garamond","serif"; font-size: 12pt; mso-bidi-font-family: "Segoe UI"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">Hoe zo’n regeling precies vorm moet krijgen en hoe de uitvoering in de
praktijk precies verloopt is uiteraard voor discussie vatbaar – er wordt in de
maatschappij ook veel over gepraat, maar vergelijking met de nazi’s en
holocaust slaat de deur behoorlijk dicht. <o:p></o:p></span></div>
<span style="font-family: Times New Roman;">
</span><br />
<div class="MsoNormal" style="background: white; line-height: normal; margin: 0cm 0cm 16.2pt;">
<span style="color: #1f497d; font-family: "Garamond","serif"; font-size: 12pt; mso-bidi-font-family: "Segoe UI"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">U hoeft helemaal geen voorstander te zijn van welke vorm van
euthanasie dan ook, maar het onderscheid tussen gedwongen (massa)moord en een
wettelijke regeling over zelfgekozen levenseinde is toch wel een minimaal
vereiste.</span><span style="color: black; font-family: "Garamond","serif"; font-size: 12pt; mso-bidi-font-family: "Segoe UI"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;"><o:p></o:p></span></div>
<span style="font-family: Times New Roman;">
</span><br />
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<span style="color: #1f497d; font-family: "Garamond","serif"; font-size: 12pt; mso-bidi-font-family: "Segoe UI"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">Mocht u een discussie met de NVVE willen over dit ontwerp, dan kan dat.
Maar graag aan de hand van overwegingen die aansluiten bij de praktijk zoals
die deze jaren in Nederland bestaat.</span><span style="color: black; font-family: "Garamond","serif"; font-size: 12pt; mso-bidi-font-family: "Segoe UI"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;"><o:p></o:p></span></div>
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</span><br />
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<span style="color: #1f497d; font-family: "Garamond","serif"; font-size: 12pt; mso-bidi-font-family: "Segoe UI"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;"> </span><span style="color: #1f497d; font-family: "Garamond","serif"; font-size: 12pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">Met vriendelijke groet,</span><span style="color: black; font-family: "Garamond","serif"; font-size: 12pt; mso-bidi-font-family: "Segoe UI"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;"><o:p></o:p></span></div>
<span style="font-family: Times New Roman;">
</span><br />
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<span style="color: #1f497d; font-family: "Garamond","serif"; font-size: 12pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;"> Frans Janssen</span><span style="color: black; font-family: "Garamond","serif"; font-size: 12pt; mso-bidi-font-family: "Segoe UI"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">, </span><span style="color: #1f497d; font-family: "Garamond","serif"; font-size: 12pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">Hoofd
bedrijfsvoering NVVE</span><span style="color: black; font-family: "Garamond","serif"; font-size: 12pt; mso-bidi-font-family: "Segoe UI"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;"><o:p></o:p></span></div>
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<span style="color: #1f497d; font-family: "Garamond","serif"; font-size: 12pt; mso-bidi-font-family: "Segoe UI"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;"> </span><span style="color: blue; font-family: "Garamond","serif"; font-size: 12pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">NVVE: Nederlandse Vereniging voor
Vrijwillig Levenseinde</span><br />
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<span style="font-family: Garamond;"><span style="color: blue;">========================================</span></span><br />
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Garamond","serif"; font-size: 14pt; line-height: 115%;">Euthanasie
: Kritiek op Toetsings-commissies Euthanasie<o:p></o:p></span></b></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%;">Katholiek
Nieuwsblad, 11 oktober 2013</span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Garamond","serif"; font-size: 14pt; line-height: 115%;">, </span></b><span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%;"><span style="mso-spacerun: yes;"> </span>door Jan Peeters</span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Garamond","serif"; font-size: 14pt; line-height: 115%;"><o:p></o:p></span></b></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%;">Er is fundamentele kritiek op de Regionale
Toetsingscommissies Euthanasie. Aanleiding is de dood van een zeventigjarige
vrouw die "ondraaglijk" zou hebben geleden onder haar blindheid. De
stervenshulp die zij vorig jaar kreeg werd daarom als "zorgvuldig"
beoordeeld. "Ondenkbaar" dat iemand uitsluitend door blindheid
ondraaglijk lijdt. Zo reageerde secretaris Rob van Vliet (67) van de
Oogvereniging maandag in Trouw op het bericht over de stervenshulp. Zaterdag
meldde de krant dat blindheid voor de vijf Regionale Toetsingscommissies
Euthanasie voldoende reden kan zijn voor hulp bij zelfdoding.<o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%;"><span style="mso-spacerun: yes;"> </span>Een 'crime'<o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%;"><span style="mso-spacerun: yes;"> </span>De vrouw vond vorig
jaar haar einde in de Levenseindekliniek, een initiatief van de Nederlandse
Vereniging voor Vrijwillige Euthanasie (NVVE). De vrouw was slechtziend geboren
en na verloop van tijd nagenoeg blind geworden. Ze zou al acht jaar een
doodswens hebben gehad en verschillende zelfmoordpogingen hebben gedaan. Ze
wilde niet naar een verpleeghuis en evenmin een blindengeleidehond. Volgens
behandelend arts Lia Bruin (55) van de Levenseindekliniek leed de slechtziend
geboren vrouw eronder dat kleding kopen, "iets waarvan zij hield" een
"crime" was geworden. Ook de gedachte dat ze misschien onwetend met
vlekken op haar kleren zou lopen terwijl ze zo van netjes hield, was een van de
dingen die de specialist ouderenzorg overtuigde van haar lijden.<o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%;"><span style="mso-spacerun: yes;"> </span>'Geen benul'<o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%;"><span style="mso-spacerun: yes;"> </span>Van Vliet zegt in
Trouw niet te geloven dat blindheid de enige reden van het als 'ondraaglijk'
beoordeelde lijden kan zijn. Vooral mensen die op latere leeftijd en in korte
tijd blind worden kunnen het heel zwaar hebben, maar zij kunnen goede
professionele hulp krijgen om met hun handicap om te leren gaan. Volgens Van
Vliet, die zelf van jongsaf blind is, begrijpt de verpleeghuisarts er niets van
hoe het is om blind te zijn.<span style="mso-spacerun: yes;"> </span>Hij plaatst
grote twijfels bij het inlevingsvermogen van Bruin. Die geeft in een groot
interview in Trouw als voorbeeld dat zij zich, toen zij met haar kleinkind in
zee stond, verbeeldde hoe het zou zijn om blind te zijn en daarmee haar
kleinkind mogelijk zou verliezen en nooit meer zou zien. Als je daar bang voor
bent, moet je dat niet doen, reageert Van Vliet. "Blinden zijn toch niet
achterlijk?", maar 'ondraaglijk lijden', daar komt het volgens hem niet
bij "in de buurt". Volgens hem is er geen advies ingewonnen bij de
Oogvereniging. Hij is er zeker van dat professionele blindeninstellingen het
advies nooit ondersteund zou hebben. Van Vliet is bang, zegt hij in Trouw, dat
de toetsing door de Regionale Toetsingscommissies Euthanasie wordt uitgevoerd
door mensen die geen flauw benul hebben van wat blindheid voor iemand betekent.<o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%;"><span style="mso-spacerun: yes;"> </span>In de steek gelaten?<o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%;"><span style="mso-spacerun: yes;"> </span>Psychiater Klaas-Jan
Pos van GGZ Midden-Nederland zegt in een opiniebijdrage in Trouw dat de vrouw
door haar verzoek in te willigen mogelijk meer in de steek is gelaten dan
wanneer dat was geweigerd. Hij poneert de stelling dat het een misvatting is
dat lijden het leven zin- of betekenisloos maakt. Hij baseert die stelling op
de observaties van de Oostenrijkse psychiater en voormalige
concentratiekampgevangene Viktor Emil Frankl (1905- 1997). Degenen die de
kampen overleefden, waren niet zozeer de fysiek sterksten, maar degenen die
ondanks of te midden van de gruwelen hun leven betekenis wisten te geven of hun
waardigheid behielden. Frankl ontwikkelde een vorm van psychotherapie die
mensen helpt de zin en betekenis van hun leven opnieuw te ontdekken ook al
lijkt die door de omstandigheden te zijn ontnomen. Pos noemt het een vorm van
"hulpverlening die uitgaat van de absolute waardigheid van de mens die
onder geen enkele omstandigheid verloren kan gaan".<o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%;"><span style="mso-spacerun: yes;"> </span>De kern<o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%;"><span style="mso-spacerun: yes;"> </span>Op basis van wat er
nu bekend is, blijkt nergens uit of ooit met de vrouw besproken is "over
hoe valide haar definitie van waardigheid was", schrijft Pos, die daarmee
de kern raakt van de problematiek rond euthanasie en zelfdoding. In feite,
schrijft Pos, is de vrouw, door haar verzoek tot zelfdoding in te willigen,
bevestigd in haar overtuiging dat haar leven zinloos en onwaardig was geworden.
Daarmee "hebben we deze vrouw mogelijk meer in de kou laten staan dan
wanneer haar de hulp bij zelfdoding was geweigerd", aldus Pos.<o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%;"><span style="mso-spacerun: yes;"> </span>Overgenomen met
toestemming van Katholiek Nieuwsblad.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">Warning to Britain as almost half of Belgium's
euthanasia nurses admit to killing without consent/ </span></b><span lang="EN-US" style="font-family: "Garamond","serif"; mso-ansi-language: EN-US;">By
Simon Caldwell</span><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">/ </span></b><span lang="EN-US" style="font-family: "Garamond","serif"; mso-ansi-language: EN-US;">UPDATED:06:48 GMT, 10 June 2010</span><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;"><o:p></o:p></span></b></div>
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<span lang="EN-US" style="font-family: "Garamond","serif"; mso-ansi-language: EN-US;"><span style="mso-spacerun: yes;"> </span>End of life: Euthanasia is legal in Belgium
but must only be carried out by a doctor and with the patient's permission.
(Posed by models) A high proportion of deaths classed as euthanasia in Belgium
involved patients who did not ask for their lives to be ended, a study found. <span style="mso-spacerun: yes;"> </span>More than 100 nurses admitted to researchers
that they had taken part in 'terminations without request or consent'. Although
euthanasia is legal in Belgium, it is governed by strict rules which state it
should be carried out only by a doctor and with the patient's permission. <span style="mso-spacerun: yes;"> </span>The disturbing revelation<span style="mso-spacerun: yes;"> </span>-<span style="mso-spacerun: yes;">
</span>which shows that nurses regularly go well beyond their legal role<span style="mso-spacerun: yes;"> </span>-<span style="mso-spacerun: yes;"> </span>raises
fears that were assisted suicides allowed in Britain, they could never be
properly regulated. <span style="mso-spacerun: yes;"> </span>Since its legalization
eight years ago, euthanasia now accounts for 2 per cent of deaths in
Belgium<span style="mso-spacerun: yes;"> </span>-<span style="mso-spacerun: yes;"> </span>or around 2,000 a year. <span style="mso-spacerun: yes;"> </span>The researchers found that a fifth of nurses
admitted being involved in the assisted suicide of a patient. <span style="mso-spacerun: yes;"> </span>But nearly half of these<span style="mso-spacerun: yes;"> </span>- <span style="mso-spacerun: yes;"> </span>120
of 248<span style="mso-spacerun: yes;"> </span>-<span style="mso-spacerun: yes;">
</span>also said there was no consent. 'The nurses in our study operated beyond
the legal margins of their profession,' said the report's authors in the
Canadian Medical Association Journal. It is likely many nurses '
under-reported' their involvement for fear of admitting an illegal activity,
the study said. But it added that many were probably acting according to their
patients' wishes, 'even if there was no explicit request'. Last night, Dr.
Peter Saunders, director of the Care Not Killing campaign in Britain, said: 'We
should take a warning from this that wherever you draw the line, people will go
up to it and beyond it.' 'Once you have legalized voluntary euthanasia,
involuntary euthanasia will inevitably follow,' he added. <span style="mso-spacerun: yes;"> </span>But pro -euthanasia group Dignity in Dying
said rules that see the patient taking their own life, rather than a doctor
administering the drugs, could still work. <o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: "Garamond","serif"; mso-ansi-language: EN-US;">Involuntary
Euthanasia is Out of Control in Holland<o:p></o:p></span></b></div>
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<span lang="EN-US" style="font-family: "Garamond","serif"; mso-ansi-language: EN-US;"><span style="mso-spacerun: yes;"> </span>The Hague --
Euthanasia in The Netherlands is "beyond effective control",
according to a report which shows that one in five assisted suicides is without
explicit consent.<span style="mso-spacerun: yes;"> </span>British opponents of
assisted suicide say that the figures are a warning of the dangers of decriminalising
euthanasia, as Holland did in 1984. By 1995 cases of euthanasia and assisted
suicide in Holland had risen to almost 3 per cent of all deaths.<span style="mso-spacerun: yes;"> </span>The Dutch survey, reviewed in the Journal of
Medical Ethics, looked at the figures for 1995 and found that as well as 3,600
authorized cases there were 900 others in which doctors had acted without
explicit consent. A follow-up survey found that the main reason for not
consulting patients was that they had dementia or were otherwise not
competent.<span style="mso-spacerun: yes;"> </span>But in 15 percent of cases
the doctors avoided any discussion because they thought they were acting in the
patient's best interests.<span style="mso-spacerun: yes;"> </span>Michael Howitt
Wilson, of the Alert campaign against euthanasia, said: "A lot of people
in Holland are frightened to go into hospital because of this
situation."<span style="mso-spacerun: yes;"> </span>Dr Henk Jochensen, of
the Lindeboom Institute, and Dr John Keown, of Queens' College, Cambridge
carried out the study. They conclude: "The reality is that a clear
majority of cases of euthanasia, both with and without request, go unreported
and unchecked. Dutch claims of effective regulation ring hollow."<span style="mso-spacerun: yes;"> </span>Another study appearing in the journal shows
that the legal assessments of cases reported to the public prosecution service
in the Netherlands vary considerably. Cases are reported to determine whether a
doctor will be prosecuted for murder. The study was carried out by Dr
Jacqueline Cuperus-Bosma, of Vrije University in the Netherlands. The paper
concluded that there is a need for clear protocols.<span style="mso-spacerun: yes;"> </span>Dr Peggy Norris, chairwoman of the
anti-euthanasia group Alert, said: "We need to learn from the Dutch system
that euthanasia cannot be controlled."<span style="mso-spacerun: yes;">
</span>"I know of patients in a nursing home who are carrying around what
they call sanctuary certificates all the time, stating that they do not want to
be helped to die. People are afraid of being sick or of being knocked down in
case a doctor takes the decision, without their permission, to stop
treatment." <o:p></o:p></span></div>
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<span class="usercontent"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: "Garamond","serif"; mso-ansi-language: EN-US;">Thousands in Netherlands Die Without Consent Since
Euthanasia OK<o:p></o:p></span></b></span></div>
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<span class="usercontent"><span lang="EN-US" style="font-family: "Garamond","serif"; mso-ansi-language: EN-US;">by
Steven Ertelt | Ottawa, Canada | LifeNews.com | 7/4/12 4:11 PM<o:p></o:p></span></span></div>
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<span class="usercontent"><span lang="EN-US" style="font-family: "Garamond","serif"; mso-ansi-language: EN-US;">One
of the typical arguments pro-life advocates use against measures allowing
assisted suicide and euthanasia centers on how the supposedly voluntary
practices will lead to involuntary decisions to take the lives of patients, the
elderly, or disabled. In a new column about the recent decision by a court in
Canada to strike down Canadian laws against assisted suicide, one attorney,
Anne McTavish, says the lesson of the Netherlands should be instructive for any
nation looking at legalizing the grisly practice. McTavish writes: We don’t
need to speculate. The Netherlands has already gone down this slippery slope
and provided the grizzly statistics that should stop us going down the same
path. A 1973 court decision in the Netherlands started the process. Doctors and
lawyers set strict guidelines to restrict when doctors could assist a
terminally ill patient who wanted to commit suicide, and to protect a
terminally ill patient who didn’t want to be euthanized (i.e., killed). “In
only 23 years, Dutch doctors have gone from being permitted to kill the
terminally ill who ask for it, to killing the chronically ill who ask for it,
to killing newborn babies in their cribs because they have birth defects, even
though by definition they cannot ask for it. Dutch doctors also engage in
involuntary euthanasia without significant legal consequence, even though such
activity is officially prohibited,” writes Wesley J. Smith in Forced Exit: The
Slippery Slope from Assisted Suicide to Legalized Murder. McTavish says
regulating the practice of assisted suicide with supposed safeguards doesn’t
prevent involuntary killing. After the guidelines had been in place for 23
years, doctors were surveyed about people they euthanized. Incidentally,
doctors later admitted they had under-reported euthanasia cases, so the
following statistics are actually less than what really happened. In 1990,
130,000 people died in the Netherlands: 2,300 people asked doctors to kill
them; 400 asked doctors to provide them with the means to kill themselves;
8,100 died when doctors deliberately gave them an overdose of pain medication
to kill them (for which 4,941 patients didn’t consent); 1,040 people died when
doctors euthanized them without their knowledge or consent (72 per cent of
those never having given any indication they would want their lives
terminated).<o:p></o:p></span></span></div>
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<span class="usercontent"><span lang="EN-US" style="font-family: "Garamond","serif"; mso-ansi-language: EN-US;"><span style="mso-spacerun: yes;"> </span>That’s breathtaking in more than one way.<o:p></o:p></span></span></div>
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<span class="usercontent"><span lang="EN-US" style="font-family: "Garamond","serif"; mso-ansi-language: EN-US;"><span style="mso-spacerun: yes;"> </span>It’s not so much that nine per cent died at
the hands of doctors, which is alarming in and of itself. What should raise our
cries of outrage is that 4,941 people (four per cent) did not give their
consent to being killed. A doctor who operates on someone without their consent
can be successfully sued and made to pay huge dollars for having done so. The
same should apply for killing a person without their consent. And it’s the
1,040 people (one percent) who were killed without their knowledge or consent
and the 749 who never wanted to die early that should get us up in arms. But
whether Canadians or citizens of other nations, like Australia, where
euthanasia proponents are attempting to legalize the practice, will be prompted
to speak up for such patients is another question entirely.<o:p></o:p></span></span></div>
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<span class="usercontent"><span lang="EN-US" style="font-family: "Garamond","serif"; mso-ansi-language: EN-US;">The
British Columbia Supreme Court issued an opinion declaring the law in Canada
against assisted suicides unconstitutional. Justice Lynn Smith issued a
395-page ruling calling the law discriminatory in the case of Gloria Taylor, a
British Columbia woman with ALS, or Lou Gehrig’s disease. Taylor was one of
five plaintiff’s seeking to strike the law and Judge Smith agree with her
saying that, because suicide itself is not illegal, assisted suicides should
not be illegal either. Judge Smith said the law contravenes Section 15 of the
Charter, which guarantees equality, because it denies the ability to disabled
people to kill themselves in the same way an able-bodied person could. Smith,
ironically, also claimed the law violated the right to life and liberty
guaranteed under Section 7 of the Charter by claiming the assisted suicide ban
could prompt people to take their lives while they’re physically able to do so.
Will Johnston of Euthanasia Prevention Coalition immediately critiqued the
ruling and the group had sided with federal and provincial governments in
opposing the case to strike the law. He urged Canadian officials to appeal the
decision to the BC Court of Appeal and to seek an order stopping the decision
from taking effect and nullifying the law until that appeal is heard. “Most
elder abuse is hidden from view – and if we can’t detect the abuse now, how are
we going to do it when the stakes are raised? I have seen how easily influenced
older people can be, and how inadequate are our national strategies against
suicide. The present decision, which should be immediately appealed and
corrected, is a huge step backwards, a blow to public safety, and would force
changes in public policy which would do more harm than good,” he explained. He
added: “Today’s decision would point Canada towards the Oregon assisted suicide
regime, which has become notorious for its erosion of medical standards and
abuse of psychiatry to rubber-stamp suicide requests. The wish to avoid
Oregon’s mistakes has been reflected in over 100 rejections of assisted suicide
by legislatures in North America and by medical associations around the world.”<o:p></o:p></span></span></div>
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<span class="usercontent"><span lang="EN-US" style="font-family: "Garamond","serif"; mso-ansi-language: EN-US;">================================================<o:p></o:p></span></span></div>
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<span class="usercontent"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Garamond","serif";">OM:
zorgvuldig in Tuitjenhorn</span></b></span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Garamond","serif";">, <span class="usercontent">zondag 10 nov
2013, 16:26 (Update: 10-11-13, 17:48) </span><br />
</span></b><span style="font-family: "Garamond","serif";"><br />
<span class="usercontent">De weduwe van de huisarts</span><br />
<br />
<span class="usercontent">Door redacteur gezondheidszorg,<span style="mso-spacerun: yes;"> </span>Rinke van den Brink</span><br />
<span class="textexposedhide">...</span><br />
<span class="textexposedshow">Het Openbaar Ministerie zegt dat het zorgvuldig
heeft gehandeld in de verhoorprocedure in de zaak-Tuitjenhorn. De weduwe van
huisarts Tromp zei gisteravond in Nieuwsuur dat haar man onder druk van het OM
is verhoord.</span> <span class="textexposedshow">Op 5 september liet de huisarts
zich opnemen in een psychiatrische inrichting omdat hij suïcidaal was. Het OM
zegt dat het sinds die dag steeds contact heeft gehad met Tromps advocate over
wanneer hij verhoord kon worden. Vervolgens is in overleg met haar en met
instemming van de psychiater het tijdstip van het verhoor bepaald, zegt
justitie.</span><br />
<br />
<span class="textexposedshow">Melding onderzocht </span><br />
<br />
<span class="textexposedshow">Het OM wil geen inhoudelijke vragen beantwoorden
over het onderzoek, maar heeft wel een toelichting gegeven op een aantal andere
vragen van de NOS.</span> <span class="textexposedshow">Voor er stappen zijn
gezet richting de huisarts heeft het OM eerst de melding van de co-assistente
onderzocht die de mogelijke misstap van Tromp aanhangig maakte. Zo is een
aantal betrokkenen gesproken, onder wie de co-assistente.</span><br />
<span class="textexposedshow">"Deze verhoren hebben vervolgens voor het Openbaar
Ministerie aanleiding gegeven om dezelfde dag een doorzoeking bij de huisarts
te laten plaatsvinden." Die huiszoeking werd in de woning van Tromp en
zijn garage gedaan door een rechter-commissaris, een officier van justitie en
twee politiemensen.</span><br />
<br />
<span class="textexposedshow">Gelijktijdig en sneller </span><br />
<br />
<span class="textexposedshow">Het OM bevestigt dat bij de doorzoeking van de
praktijk meerdere politiemensen betrokken waren. De weduwe van huisarts Tromp
zei gisteravond in Nieuwsuur dat de huisartsenpraktijk door vijftien mensen
doorzocht is.</span> <span class="textexposedshow">"Door met een groter
aantal mensen een doorzoeking te verrichten", zegt het OM, "kan elke
ruimte gelijktijdig worden bekeken en verloopt een doorzoeking sneller".<o:p></o:p></span></span></div>
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Egmond Codfriedhttp://www.blogger.com/profile/10597005835134961469noreply@blogger.com0tag:blogger.com,1999:blog-1401624891557825179.post-39334178217872173482013-08-12T05:40:00.003-07:002013-08-12T05:40:30.963-07:00<h2>
DE VERSTOPTE PORTRETTEN VAN DE REGENTENFAMILIE VAN GOOR</h2>
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Belle van Zuylen, Isabelle de charriere, granddaughter of Maria Jacoba van Goor (1687-1737). She inhereted action in the slavery trade from her grandma, and agonised over them in her novel 'Trois Femme.'</div>
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Maria Jacoba van Goor: This painting started this blue blood resarch in 2005.</div>
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Husband of MJvG: René de Vicq</div>
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Helena Jacoba de Vicq, mother of Isabelle de Charriere.</div>
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The body was modelled after a painting of a French Queen.</div>
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Maria Jacoba van Goor</div>
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Van Goor?</div>
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Van Goor?</div>
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Helena Jacoba de Vicq, Isabelle de Charriere's mother who might have brought in the Van Goor portraits. </div>
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De verstopte portretten van de gekleurde regentenfamilie Van Goor</h3>
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Aan de Conservatrice van Slot Zuylen mw. Hester Kuiper (?) te Utrecht<br />
cc Mw. Karin Schaffers, Conservatrice Iconografisch Bureau<br />
Ref.: EC/1/008/2006<br />
Inzake: De dubbel geanonimiseerde portretten van de familie van Goor<br />
Den Haag, 27 maart 2006.<br />
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Weledele Vrouwe Hester Kuiper,<br />
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Gaarne bedank ik u alsnog voor het korte gesprek dat wij vele maanden geleden op Slot Zuylen mochten hebben. Ik voelde mij zeer vereerd dat u toch tijd vrijmaakte terwijl mijn komst niet was aangekondigd. Intussen kan ik u informeren dat er een ‘eerste verbeterde druk maart 2005’ van mijn werk over Belle van Zuylen beschikbaar is, welke vele malen superieur is aan de ‘nulde druk.’<br />
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Daarom kan ik u laten weten dat de adellijke familie van Tuyll van Serooskerken en haar aanverwante takken en aangetrouwde families, allemaal in oorsprong behoorden tot de Europese ‘zwarte en gekleurde’ natie, door mij ontdekt en aldus genaamd. Ze vormden een uniek en exclusief Europees ‘gefixeerd, mulattenras’ met wit, Afrikaans en Aziatisch bloed. Dit geldt dus ook voor de zogenaamde ‘moderne tak’ die inmiddels helemaal wit schijnt. Sommigen vertoonden meer afrocentrische gezichtstrekken zoals Maria Jacoba van Goor en deze portretten geven conservatoren tot vandaag de meeste problemen. De conservator Ben Bregman van het Huygensmuseum Hofwijck bijvoorbeeld, weigert het Rembrandt portret van Maurits Huygens te tonen want hij oogt als een ‘mulat’ en de hele familie was gekleurd. <br />
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Voor het juiste begrip van de heel licht gekleurde Belle van Zuylen die een zwarte identiteit had en tevens hield van zeer donkere adellijke mannen, zal men haar etniciteit en de herkomst van het familiefortuin uit slavenhandel in ogenschouw moeten nemen. Ik heb zelf zeer ongeïnformeerde wetenschappers horen beweren dat Belle van Zuylen niet van zwarte mensen zou houden of zichzelf lelijk vond! Zij wilde van alle naties zijn en was ook van alle naties.<br />
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Eerder heb ik mijn verwondering geuit dat de schatrijke regentenfamilie Van Goor die zelf connecties had met Rembrandt van Rijn, het slechts met één schilderij van Maria Jacoba moest stellen. Door echter mijn theoretisch concept toe te passen op uw beschrijvende catalogus van de schilderijencollectie op Slot Zuylen ‘Op stand aan de wand’(1996) waaraan mevrouw Karin Schaffers van het Iconografisch Bureau een bijdrage aan leverde, kom ik tot de deductie dat de portretten van de familie Van Goor werden ingebracht door Helena Jacoba de Vicq, de moeder van Belle van Zuylen, en gezocht moeten worden onder de geanonimiseerde portretten van eveneens geanonimiseerde meesters. Deze portretten treft men tegen het einde van de catalogus aan en ik ga ervan uit dat het dubbel anonimiseren in de 19e eeuw plaatsvond, door uw minder ‘verlichte’ voorgangers. Opvallend is dat de meeste van deze onderhavige portretten op dezelfde wijze zijn gerestaureerd in 1910-1912, alsof men eerder de panelen op maat had gezaagd om te passen in een bewaarplaats. <br />
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De 19e eeuwse portretten in uw hele collectie beoordeel ik allemaal als bij de conceptie reeds ‘gemooid’ waarbij mogelijke afrocentrische trekken werden ‘vergriekst’ en een eventuele donkere huidkleur geëlimineerd, want gekleurde etniciteit was toen helemaal ‘not done’ en deze afbeelden geven dus geen enkele indicatie van etniciteit.<br />
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De argumenten op een rijtje: <br />
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- Ontbreken van portretten Van Goor waar het in de lijn der verwachtingen is dat ze moeten hebben bestaan.<br />
- Ontbreken in een specifieke collectie waar men deze normaliter zou moeten aantreffen omdat zij door een bruid moeten zijn ingebracht.<br />
- Anonimiseren om geen connecties met families te kunnen leggen en kleur in deze families te verbergen.<br />
- Anonimiseren van de schilder zodat de informatie van de schilder niet herleidbaar is naar deze families.<br />
- Niet tentoonstellen van deze portretten aan het publiek.<br />
- Afrocentrische gelaatstrekken m.n. subnasale prognastie<br />
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Specifiek in betrekking tot de familie Van Goor doel ik op portretten met catalogusnummers 165, 166, 171, 172, 175, 177 en 181. Als laatste ressort kijk ik naar het afgebeelde en herken leden van de ‘zwarte en gekleurde’ natie in de portretten. Vooral nummer 177 ‘Onbekende man’ toont een jonge man met heldere, lichte ogen, een wat bolle neus en blond kroes haar, in Renaissance aandoende kleding uit de tijd van Shakespeare. Hij heeft mijn speciale belangstelling. Ik wenste dat hij Cornelis Gijsbertsz van Goor (1600-1675) was, de opa van Maria Jacoba van Goor en een opdrachtgever van Rembrandt. Zoniet haar jong overleden broer Cornelis van Goor de jonge, professor aan de Universiteit van Keulen, maar dan past de datering op kleding niet meer. Of was het gelegenheidskleding en wilden zij hun status als ‘Renaissance man’ benadrukken? Deze knappe persoon springt uit het doek op een haast ‘Rembrandt-achtige’ wijze en is het toonbeeld van goed Hollands ondernemersschap. De andere zeer ingetogen maar geamuseerde Hollandse dames met kroes haar zijn mogelijk de moeder Elizabeth Schrijver, haar dochters Agnes van Goor en Johanna van Goor, de zusters van Maria Jacoba van Goor. Mogelijk dus oudtante Johanna van Goor (1690-1762) met wie Belle van Zuylen, volgens Dubois, correspondeerde.<br />
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Verheugend is dat men de portretten van de familie Van Goor niet verder heeft verhandeld of heeft vernietigd, maar dat men zelf tot restauratie overging. Misschien dat de verantwoordelijken dachten aan betere tijden wanneer de wereld rijp zou zijn voor de acceptatie van zwarte en gekleurde Nederlanders als gelijkwaardig aan witten. Of dat het, aannemelijk, werken van grote meesters zijn en waardevolle cultuurschatten betreft. Door vandaag in 2006 over te gaan tot deze schilderijen van de naam van de afgebeelde persoon en de naam van de schilder te voorzien handelen wij in de geest van deze voorgangers.<br />
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Ik zou gaarne in de toekomst deze stukken willen (helpen) determineren en vraag mij af of Slot Zuylen daartoe haar medewerking zal willen verlenen. Te beginnen met een schouwing van de werken en bestudering van de onderhavige stukken van de restauratie en dergelijke binnen afzienbaar termijn. Verder neem ik aan dat er nog veel ongecatalogiseerde familiecorrespondentie is op Slot Zuylen. Een document in het Archief van Utrecht betreft een machtiging van de familie van Tuyll van Serooskerken aan Cornelis van Goor de jonge, wat wijst op intieme betrekkingen tussen deze families, welke helaas niet terug komt in de presentatie op Slot Zuylen.<br />
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Belle van Zuylen had dus niet één, maar zelfs twee gekleurde oma’s want ook Isabella Agnetha Hoeuft, naar wie zij vernoemd is, was van een ‘hartstikke’ gekleurde familie, ondanks sommige portretten. Ook de verheffing van de familie in de adelstand door keizer Leopold I Habsburg, een zwarte man, is een aanwijzing. <br />
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Als anekdote wil ik u informeren dat ik onlangs, in navolging van het charmante idee van ‘six degrees of seperation’ een connectie (geen bloedband of pretenties of wat dan ook) vond tussen mezelf en onze Belle van Zuylen. De familienaam Codfried werd namelijk bij de Emancipatie op 1 juli 1863 aan vijf vrijgemaakte jonge slaven gegeven. Mijn zwarte overgrootmoeder Mariette Adriana Codfried (1860) was één van deze vijf. De zwaar getroffen slavenmeesters die een schadeloosstelling ontvingen vanwege deze vrijmaking waren twee broers Neumann uit Mecklenburg, mogelijk beschreven in het ridderschap, en twee Surinaamse zusters Cordua. De moeder van deze gezusters Cordua was Catharina Hoëft, door haar ‘informele’ Duitse echtgenoot van twintig jaren trouw met wie zij een traditioneel ‘gemakshuwelijk’ had gesloten, vermeldt als ‘Höft.’ Zij was als kleuter gemannumitteerd door haar meester, en behoorde tot de boedel van Henriette Wilhelmina Bedloo die getrouwd was geweest met Jan Diederik Hoeuft uit Haarlem. De naam Diederik wordt ook gedragen door Belle’s vader. Jan was deel van het bestuur van Suriname en is aldaar overleden. Aannemelijk is dat deze gekleurde vrouw Catharina het enige, doch illegitieme kind van deze Hoeuft was en men de familienaam heeft verbasterd. <br />
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Haar kleinzoon Johan Martin Andreas Neumann werd burgemeester van Lübeck. Mijn verzoek aan het Museum van Lübeck om een portret van ‘der burgemeister’ resulteerde in een familiefoto van het hele burgemeesterlijk gezin in de tuin, met de burgemeester ver in de achtergrond, half verscholen achter een bosje. Aannemelijk is dat hij als gekleurde man zwarte trekken had en dat dit vreselijke geheim ook in 2006 verborgen moet blijven. (Publicatierechten euro 55!)<br />
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Mijn volgende publicatie onder de pen is een engels, afrocentrisch kunstgeschiedenisboek ‘Black Dutch by Rembrandt, Frans Hals, Rubens, Liotard, Girodet and many others’ welke met Godswil in 2007 in eigen beheer gaat verschijnen. Hierin verzamel ik zo veel als mogelijk afbeeldingen en portretten van deze zwarte natie, plaats ze in context en geef commentaar. Ik breng ook alle zwarte en gekleurde portretten van de relaties van Belle van Zuylen bij elkaar om de ‘zwarte en gekleurde’ vaandeldraagster van deze natie zichtbaar te maken.<br />
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Ik zie gaarne uw welwillende reactie tegemoet. Met alle verschuldigde respect en dankzegging. Uw gehoorzame en onderdanige dienaar.<br />
<br />
Egmond Codfried<br />
Schrijver & publicist<br />
EgmondCodfried@hotmail<br />
<br />
************************************************************<br />
12 Oktober 2006<br />
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Geen reactie van Slot Zuylen volgde, maar dat was te verwachten!</div>
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Egmond Codfriedhttp://www.blogger.com/profile/10597005835134961469noreply@blogger.com0tag:blogger.com,1999:blog-1401624891557825179.post-51319214742773351042013-08-10T06:20:00.003-07:002013-09-02T01:42:16.937-07:00<h2>
<span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">THE WHITENING OF THE
EUROPEAN CIVILISATIONS</span></h2>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Sources of
the Blue Blood is Black Blood theory (1100-1848); </span></h3>
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alexander The Great as seen by Apelles: swarthy.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOs224KR2IJvMH9TyFL47dT6tx_RebpuOTlrT3AKsgSAIsjDzzPrWJq_n8WK4mRw61dJiTz9zGLu9b7HJXHfNHF4-eXLDXCLEPZJfB-xeWYblbH7-ty6ukGf7urJ_7PAyXGTOB3FAnx9aY/s1600/alex1.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOs224KR2IJvMH9TyFL47dT6tx_RebpuOTlrT3AKsgSAIsjDzzPrWJq_n8WK4mRw61dJiTz9zGLu9b7HJXHfNHF4-eXLDXCLEPZJfB-xeWYblbH7-ty6ukGf7urJ_7PAyXGTOB3FAnx9aY/s1600/alex1.png" /></a></div>
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Swarthy</div>
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Perhaps Alexander the Great as a hunter</div>
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Alexander and his lover Hephaestion</div>
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His wedding at Susa</div>
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Lorenzo de Medici </div>
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Queen Anne of Denmark, Queen of James I Stuart of Britain. </div>
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Costume design for 'The Masque of Blackness.'</div>
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Robert Browning, husband of Elizabeth Barrett Browning</div>
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General Dummouriez</div>
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Goethe</div>
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Poet Jan Vos</div>
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Johan de Witt, Raadspensionaris, premier of The Netherlands</div>
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Karl 'Mohr' Marx</div>
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Maurice of Saxony, the father-in-law of Wiliam I of Orange (1533-1584)</div>
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Ludwig van Beethoven</div>
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Pushkin as a child of 14 years, already recognized as a great talent by the Russian state.</div>
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Madame de Staël-Holstein</div>
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<a data-ved="0CAUQjRw" href="http://tcdh.wordpress.com/2011/08/16/blacks-in-antiquity/" id="irc_mil" style="border: 0px currentColor;"><img height="475" id="irc_mi" src="http://tcdh.files.wordpress.com/2011/08/blacks.jpg" style="margin-top: 74px;" width="312" /></a></div>
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This type of image seems to symbolise how the Greek elite saw itself as between the white Scyths and the Black Ethiops. While the Renaissance elite seem to have favoured the image of a profile of a Black King dominating the Profile of a white woman. Like the Drake Jewel. But I do not see the Greek and Romans being lax towards the white immigrants, inspite the more relaxed sounding stories of relations between black and white.</div>
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<a data-ved="0CAUQjRw" href="http://realhistoryww.com/world_history/ancient/Misc/Crests/Crests.htm" id="irc_mil" style="border: 0px currentColor;"><img height="608" id="irc_mi" src="http://realhistoryww.com/world_history/ancient/Misc/Crests/Drake_Jewel_1.jpg" style="margin-top: 8px;" width="475" /></a></div>
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A detail of The Drake Jewel showing Black domination and Black Superiority in Renaissance Europe.</div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Contents:<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">1</span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">PREFACE<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">2</span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">INTRODUCTION<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">3</span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">THE GREEK
AND ROMAN CIVILIZATIONS<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">4</span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">RESTORATIONS<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">5</span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">ENGRAVINGS<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">6</span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">CASES<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">7</span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">CONCLUSIONS<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">8</span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">LITERATURE<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">9</span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">APPENDICES<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
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<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><strong>1</strong></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><strong>PREFACE<o:p></o:p></strong></span></div>
<br />
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Whites do
not know their true history and their humble beginnings as mere Barbarians in
Europe, and eventually serfs and villains. Even their skins being used to line
church doors, make book covers, make clothes and shoe leather for the brown and
black complexioned European elite (1100-1848). The elite was the modern noble
and bourgeois class from history, and after Emancipation during the Final
Revolutions in 1848 the whites painted them out of history, claiming the paint
had darkened. Next to altering the paintings there is massive obscurantism deployed
to the effect that no rational discourse is possible, even with whites who are
trained scientists. So this book is a watershed and a benevolence to the whole
world.<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">The purpose
of this study is to provide sources for the Blue Blood Is Black Blood<span style="mso-spacerun: yes;"> </span>(1100-1848) and to show how they were used.
The Blue Blood Theory though can only be found in my own books, as the
information is synthesised from separate elements brought together in a new
way. The new way has proven a problem and I was astonished not to be able to
find a person to go through my scientific work in a scientific way, by
examining the sources. I was met with emotional people, who often took recourse
to rudeness, anger, insults and personal attack. All the while never addressing
the issue that got them so worked up. So there are degrees in ignorance, and
the people who oppress us make sure we are also not open to ideas that might
liberate us, that might open our eyes. The public now have the advantage of my
8 of research, and my ceaseless efforts to present my astonishing findings in
such a clear and simple way was as possible.<o:p></o:p></span></div>
<br />
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Everybody
with a smattering of historical knowledge can understand the Blue Blood Theory.
Yet they should be persons who are dissatisfied with Racism against Blacks and
white supremacy. But still must be people who understand cause and effect, and want
to look for causes to find solutions. The Blue Blood should be used to
deconstruct Racism as it is a liberation ideology, started in 1760 by the
bourgeoisie philosophers who invented human races to liberate Europe from noble
domination. It took me 3 years to believe my own findings, because I could not
understand how such a big thing, the blackness of the European elite, could be
hidden. And why should it be me to discover this while others are much better
educated or have done research about the historical persons I had started my
research with. <o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">How does
Courtney research Isabelle de Charrière (Belle van Zuylen) and does not know
that she was brown of complexion. Even when she states about herself: ‘ She
does not have the white hands, she knows this and even jokes about it, but its
not a joking matter.’ She wrote a poem about Baron Maasdam: ‘About his brown
black color.’ Courtney wrote about James Boswell who wrote that ‘Mrs Maasdam
black as chimney’ and Baron Maasdam ‘Her husband chimney sweeper.’ These leads
are ignored, and whitened portraits are shown. Yet the portrait of Maria Jacoba
van Goor (1687-1737) while her name is mentioned as the grandmother. There was
just line of information: ‘We know nothing about Maria Jacoba van Goor then
that she was born in 1687 and died 1737.’ And he failed to show her portrait.
As if he realised she looked classical African, and wanted to make sure nobody
may know. It was the same when I approached the Huygens Museum to ask why the
Rembrandt portrait of Maurits Huygens was not displayed next to his parents,
siblings in laws and employers. I was told: ‘We know nothing about Maurits
Huygens, so we will not show his portrait.’ When I asked this, there were five
books out about Maurits Huygens. A careful observer will notice that the
whitened portrait of Maurits Huygens shows a mulatto type, with classical
African facial traits, just like that portrait of Maria Jacoba van Goor. <o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">This gross
deception launched my research, and my first study. This book is now very
dated, because I was forced to make wrong conclusions based on faulty sources.
The illustrations, the quotes and bibliography are good. In general science
depends on integrity, and bringing facts to the foreground that others have
denied their due because of prejudice and fear. Where there was decided to bury
the brownness and blackness of the elite, all science had to conform to this
ruling. So science is practiced with some conclusions already put before the
actual research has commenced. As a Black person, critical with a postcolonial
mindset, I will automatically focus on any reference to colour. Next Maria
Jacoba van Goor had actions in the slave trade, her husbands uncle Francois de
Vicq was a member of the board of trustees of the Suriname Company of the VOC,
De Charrière inherited some of these actions and agonised over them in ‘Trois
Femme,’ the famous reconstruction of Slot Zuylen by Daniel Marot was financed
with the huge dowry of Van Goor’s only child Helena Jacoba de Vicq. So what
strong forces are here at work to prevent intelligent scientists to see clear?
I have to deal with these forces as well, but as I was not raised in this
feudal Dutch hierarchy, and came very late in life on this revisionist’s scene,
I could see these forces at work, as if one watches a bulldozer at work. I
cannot help to think that the six hours of torture in a artificially
refrigerated police cell I was subjected to on 15 May 2005, on the Hoefkade
Police Staion in The Hague, was linked to the publishing of my first book, inspired
by Belle van Zuylen in 2004.<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">To my
fellow researchers and followers I like to point out that in marketing my
research I generated a lot of resistance because I simply identified the
European elite as Black. I still believe they are Black, as all blackness comes
from Africa, and they freely intermarried. There were families who all showed
classical African looks, while in other families only one member might show
these facial traits. If we may believe the portraits, anyway. After my study of
Jane Austen ‘Was Jane Austen Black?’ I adopted her taxonomy of: ‘light brown or
sallow, brown, very brown and black.’ as she spoke of ‘two and three families
in a country town’ I assumed she meant 2-3% of the Europeans were brown or
black. This conclusion of mine was bourn out when I read that the third estate
numbered 97% during the French Revolution. So Austen is almost scientific in
her fiction. So for starters I prefer to identify the persons in my research as
the brown and black complexioned European elite. And that among this 3% there
was a 10% minority who displayed classical African facial traits, a type we
call Black today. Unfortunately, ‘Black’ is heaped with all kind of terrible
prejudices after 1848; when Racism went haywire, so by saying ‘Black’ the windows
shuts and communication ceases.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">It is
really as I had already said about how slaves would keep themselves and each
other in slavery, even if the master left for twenty years. So whites I
re-established are still very near to their serf and villain roots, and have no
concept of freedom. They do not understand other nations who want to be free
from colonialism. They are also very much part of a primitive feudal hierarchy
where everyone knows his place. It’s already decided where you are, and what
you are. The newcomers, the immigrants who arrived later follow behind the
whites, which are the only true Dutch. Questioning things, wanting to change
things, introducing new research upsets the whole sense of hierarchy and annoys
and irritates everybody, because they are already straining to cope, but are
sassed by an underling, me, who does not know his place. So the assumption that
I’m actually crazy is summarily made. Insanity is a social construct, and today
we allow very little space for manoeuvring or dissent, like we are a true
totalitarian state. When the western nations criticise totalitarian regimes of
mind control, it does not mean they themselves are using mind control. The way
the WWII is explained is a dangerous fantasy. They blame the Germans, never
speaking about how it was really the Dutch state that organised the Holocaust.
So they do not understand when I say that the present discours about/against
foreigners sound awfully like what was aid about and against jews before the
Holocaust. And we know hos this worked out for Jews, with The Netherlands
showing the highest proportion of killings from all West Europeans countries.
The usual answer is ‘we don’t know why so many Dutch Jews died’ does not
satisfy me. <o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">My
apprehension has these days increased by the increase in suicides in Holland.
There are 31 euthanasia teams running rampant. They also seem to visit persons
who have previously signed a document asking for euthanasia if they are
demented and bedridden. This practice resulted in a man panicking when the
euthanasia broker visited him, thinking the man was going to murder him. The
cases of people refusing to be killed has caused a judge to advice that such
cases should be put before a judge, as they are used to making difficult
decisions. The principle of consent had abandoned by law, so others can decide
if a person should be euthanised. This is very much like what the German nazis
did from 1933-1945. there is today a who euthanasia religion taking shape in
Holland and a good Dutch advocates euthanasia. This is done for austerity
reasons, as we were prepared for a long time with media items how much the care
of the elderly and bedridden costs society. A person should only enjoy his
state pension for five years after he reached 65, so as not to be a burden on
society. <o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">The
astonishing and disgusting fact that there was an European trade in human
leather till the first half of the nineteenth century was gleaned from the web
when I looked for flaying. Next I found that the French King was presented with
a pair of slippers made of human leather on the eve of the French Revolution
and this clinched in my mind the idea that such a gift was highly symbolic for
how the third estate was regarded. Together with the satirical remarks by
Jonathan Swift that the children of the poor could be used to make gloves and
shoes for fine ladies and gentlemen; the idea of whites kept as shoe leather
cattle came to life. Life flaying, also satirised by Swift and depicted in many
ways, was also a type of punishment and method of execution. Next to
disembowelling and throwing the still attached intestines in the fire. We know
about the phrase cruel and unusual punishments, and the historical Declaration
of The Rights of Man. <o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">These facts
viewed together gave me the impression that the third estate, the whites were
not even considered human. A Pakistani friend presented me with verbal
information about the Indian cast system that in his view will never end as it
is connected with the Hindu religion. The untouchable men are forbidden to even
look at higher casts women, but the higher cast men can have sexual relations
with casteless women, although its considered a ritual pollution. This made me
appreciate the uniqueness of the French Revolution. And why their freedom was
so dear to whites, why they respond the way they do against Blacks. It was
clear to me that history continued, and they are still keeping a struggle going
by maintaining the whitened portraits, and keeping Blacks ignorant of this
fact, and keep Blacks out. I had earlier stated that Blacks are kept out of
positions of authority and positions of power: which is the purpose of racism
against Blacks. Racism to me became more than a question of whites being nasty
to Blacks, but whites believing they were maintaining their freedom. So Racism
came to be regarded to me as a liberation ideology, an religion like invention.
Because not only did the whites need to be weaned away from the devotion they
felt for their brown and black oppressors, but also to prevent them from giving
Blacks positions and power over them. <o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">This was
also the purpose of having the portraits altered to show whites. Whites were
kept back for so long and in so a complete fashion, that there were no
historical whites of merit. Whites did not have a history, and had to create
one when they were finally emancipated in 1848. So the altering of the Old
Master portraits served many purposes. The Black oppressor was cut out of
history, he did not exist anymore, his brown and black faces were not looking at
whites everywhere they went. There was no occasion for a back sliding by the
brown and black Europeans laying claim on past positions by pointing to the
brown and black portraits. Interestingly much religious imagery was destroyed,
along with symbols and heraldry of the nobility. Black Madonna’s were destroyed
during the French Revolution and today we are left with a copy. <o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Still it
was the bourgeoisie in control, as the brown and black bourgeoisie philosophers
and scientist were developing ideas to free themselves and the rest of society.
Realising that nobody is free if some are un-free. One useful remark in the
many unsatisfying books about the French Revolution is that the bourgeoisie
stole the French Revolution. So the bourgeoisie was part of the second estate
and made an alliance with the third estate to topple the hated nobility. From
my study of Jane Austen I concluded that the bourgeoisie or gentry or Regenten
caste were equally brown and white as the nobility, but the nobility looked
down on them. According to Austen they lacked true elegance, and good manners,
and they were in trade. She talks in regard to Mr. Elton as a merit that he did
not have any ‘low connections’ perhaps meaning he was not mixed of blood with
whites. In her books whites are the lower orders, and although she allows them
to have some merits and respectability, they are beneath the notice of the
superior people. Mister Knightly considers ladies and gentlemen surrounded by
their servants as ‘natural.’ The whites were the servants and being served by
them confirmed that the brown and black elite was superior. Emma (1816) can be
studied as non-fiction in regard to the morals, the mores of the
pre-revolutionary period, as Austen lays out her vision for a post
revolutionary Britain. She remained conservative, regarding her brown and black
complexioned casts as superior over whites and non-noble Blacks. She was
critical against blacks receiving praise for birth and not for personal merit.
She saw herself and members of the gentry who applied themselves, who took care
of the land, who took care of their tenants instead of dissipating their
fortunes, as the new and ideal elite. Isabelle de Charrière expresses similar
sentiments to her cousin, saying they should become a aristocracy of merit
instead of just status. Austens hero Mr. Darcy was such a type of good master,
and the Knightley brothers discussing the care of their lands were Austen
ideals. The same as Mr. Of Sense and Sensibility who wanted to apply his
talents, and forfeited his inheritance.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Another
important part of the blue blood research was to find a way to present and
market this theory, this reconstruction of the past, using the scientific
method throughout. I looked mostly for an audience on the many discussion
forums, where I was almost always banned. But it always was after much insults
and wilful, almost perverse misunderstanding. But at least I got to understand
how whites think, what they know of their own history. Today I can say they do
not know their history, and most astoundingly, they are trained to resist the
truth. If whites knew their revolutionary history, they would surely take a
different look at their supposed freedom, and about the more recent economical
upheavals and the loss of freedom due to security and the so-called terrorist
thread. The elite has eliminated elements from history that could lead to
understanding of the causes of the French Revolution. The white revolutionary
leaders took care not to let the emancipated know and experience true freedom too
far beyond what they were used to. </span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
=========================================================================</div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<br />
<a href="http://books.google.nl/books/about/Black_Athena_Revisited.html?id=AClFWV6PE8wC&redir_esc=y"><span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="color: blue;">http://books.google.nl/books/about/Black_Athena_Revisited.html?id=AClFWV6PE8wC&redir_esc=y</span></span></a><span lang="EN-US" style="mso-ansi-language: EN-US;"><o:p></o:p></span><br />
<br />
<span lang="EN-US" style="mso-ansi-language: EN-US;">"<o:p></o:p></span><br />
<br />
<h3 style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: medium;">Black Athena Revisited<o:p></o:p></span></span></h3>
<u1:p></u1:p>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-family: Calibri;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;">Mary R. Lefkowitz, Guy
MacLean Rogers, UNC Press Books, 1996 - 522 pagina's</span><span lang="EN-US" style="mso-ansi-language: EN-US;"><o:p></o:p></span></span></div>
<u1:p></u1:p>
<br />
<span lang="EN-US" style="font-family: "Calibri","sans-serif"; mso-ansi-language: EN-US;">Was Western civilization founded by ancient Egyptians and Phoenicians?</span><span lang="EN-US" style="mso-ansi-language: EN-US;"><o:p></o:p></span><br />
<br />
<span lang="EN-US" style="font-family: "Calibri","sans-serif"; mso-ansi-language: EN-US;">Can the ancient Egyptians usefully be called black?</span><span lang="EN-US" style="mso-ansi-language: EN-US;"><o:p></o:p></span><br />
<br />
<span lang="EN-US" style="font-family: "Calibri","sans-serif"; mso-ansi-language: EN-US;">Did the ancient Greeks borrow religion, science, and philosophy from the
Egyptians and Phoenicians?</span><span lang="EN-US" style="mso-ansi-language: EN-US;"><o:p></o:p></span><br />
<br />
<span lang="EN-US" style="font-family: "Calibri","sans-serif"; mso-ansi-language: EN-US;">Have scholars ignored the Afroasiatic roots of Western civilization as a
result of racism and anti-Semitism? </span><span lang="EN-US" style="mso-ansi-language: EN-US;"><o:p></o:p></span><br />
<u1:p></u1:p>
<br />
<span lang="EN-US" style="font-family: "Calibri","sans-serif"; mso-ansi-language: EN-US;">In this collection of twenty essays, leading scholars in a broad range
of disciplines confront the claims made by Martin Bernal in Black Athena: The
Afroasiatic Roots of Classical Civilization. In that work, Bernal proposed a
radical reinterpretation of the roots of classical civilization, contending
that ancient Greek culture derived from Egypt and Phoenicia and that European
scholars have been biased against the notion of Egyptian and Phoenician
influence on Western civilization. The contributors to this volume argue that
Bernal's claims are exaggerated and in many cases unjustified.</span><span lang="EN-US" style="mso-ansi-language: EN-US;"><o:p></o:p></span><br />
<u1:p></u1:p>
<br />
<span lang="EN-US" style="font-family: "Calibri","sans-serif"; mso-ansi-language: EN-US;">Topics covered include race and physical anthropology; the question of
an Egyptian invasion of Greece; the origins of Greek language, philosophy, and
science; and racism and anti-Semitism in classical scholarship. In the
conclusion to the volume, the editors propose an entirely new scholarly
framework for understanding the relationship between the cultures of the
ancient Near East and Greece and the origins of Western civilization. "</span><br />
<br />
<div style="text-align: center;">
================================<span lang="EN-US" style="mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<u1:p></u1:p><strong>
</strong><br />
<span lang="EN-US" style="font-family: "Calibri","sans-serif"; mso-ansi-language: EN-US;"><u1:p></u1:p><strong>This thread, this new book of mine</strong>: 'The Whitening of
European civilizations' was begun before I (re) read Black Athena by Mike
Bernal. His books are too complicated for me, and ‘m not really motivated to
read about all those revisionist theories by the racist researchers who hate
Black people, that he talks about. After reading Black Athena Revisited all these theries and assesments of persons seems so extremely speculative. They all, Bernal included, built whole
theoretical edifices on top of shaky theories, by these fickle and politically motivated scientists, and who
never agree on one thing. So we need to search for other ways to reconstruct,
to explain what happened. I notice Bernal comes very near my blue blood theory
findings that Greece was whitened in the 1840’s, as he wrote. I have the year
1848 when whites were finally emancipated, accepted as humans, and changed the
face of history by over painting all old master portraits with beige and pink.
So there was no back sliding, with the brown and black elite, the hated Ancien
Regime, claiming power and rights. </span><br />
<br />
With a new political elite came a new sense of aesthetics. Rembrandt was chosen as the figurehead, and all old master portraits and genere peices were 'restored' to show whites. Whites gave themselves a history. And they did not want a history which showed them as barbarians and serfs, and immigrants in Europe. They elevated themselves into the nobility of Greece and the rest of Europe since the Modern Age. This little bit of information goes missing in this debate, so the case is not settled. We need to address the fake over paints, if we want to make any progress.<br />
<u1:p></u1:p>
<br />
<span lang="EN-US" style="font-family: "Calibri","sans-serif"; mso-ansi-language: EN-US;">The brown and black Europeans were painted out of history 165 years ago, as a claim was made that
the paint had ‘darkened.’ Personal descriptions however tell us that the old elite of
Europe, was brown and black of complexion, and we have ample proof they were
depicted in this way. So saying first that the figures looked dark is a
verification of the fact that they were dark, as the personal descriptions in
biographies say they were dark. Photographs of such darkened portraits show normal dark-skinned
people. Next the engravings drawn from these freshly produced portraits show
these dark complexions. So if the paintings did not darken overnight, then the
painters apparently intended to paint a black person. One can still see the
brown layers underneath the beige layers, and see how facial hair was painted
on top of the fake layers. Some show classical African facial traits, and
frizzled hair, that spell Black. The dispute is not: were they over painted?
They were. But did the paint darkened? Some of these persons show strong classical
African facial traits, which as we know frequently go together with brown and
black skin.</span><span lang="EN-US" style="mso-ansi-language: EN-US;"><o:p></o:p></span><br />
<br />
<span lang="EN-US" style="font-family: "Calibri","sans-serif"; mso-ansi-language: EN-US;">As long as my findings are not addressed, there cannot be a useful and
fundamental debate about what really happened in 1848 when the Greek and Roman
civilizations were whitened by European scholars. Perhaps the bourgeoisie in
their zeal to topple the nobility, already started making efforts to show
whites on top as soon as 1790, and started revising the Classical model, to
substitute this with the Aryan model. To placate whites who did not want to be
seen as the barbarians, and shoe leather and canaille of history. Today whites
do not want to be reminded of the fact they were lowly serfs to black and brown
complexioned European masters, who wore shoes made of their white skins. Yet
they take great pleasure in telling Blacks they were slaves.</span><span lang="EN-US" style="mso-ansi-language: EN-US;"><o:p></o:p></span><br />
<br />
<span lang="EN-US" style="font-family: "Calibri","sans-serif"; mso-ansi-language: EN-US;">Black Athena spawned many debates and books like this one by Mary
Lefkowitz that helps the popular public to understand what the fight is all
about, and why Bernal is such an evil person. He is evil because he champions
research done by Blacks like Sheik Anta Diop. He actually accepts Black
researchers as his peers. Science is explained in essays, in detail without
jargon, and we even get a whole detailed expose why they need to measure up
people’s heads. To dispel fears of racist motifs, they have Frank Snowden, who
shows himself disdainful of Afrocentrics. He obviously needs to make clear to
his pay masters that he is not one of that evil breed. Afrocentrists are
acknowledged, are named, and even some explaining of their hated doctrines is
made. So this book is not such an evil thing in itself, if understood in the
context I give here.</span><span lang="EN-US" style="mso-ansi-language: EN-US;"><o:p></o:p></span><br />
<u1:p></u1:p>
<br />
<span lang="EN-US" style="font-family: "Calibri","sans-serif"; mso-ansi-language: EN-US;">But what these immensely learned and clever people, black or white, are
missing, is that indeed the Egyptians and Greeks were not all Blacks, they were
not all classical African in looks. But the elite (2-3% of the French during
the French Revolution) often was classical African in looks and they
self-identified as Black. They were considering the type we call Moor, a
classical African, and a heraldic symbol: as pure of blood. They acknowledge to
derive their face type from this African Type. So they self-identified as
Black. And Herodotus claims that some Egyptian dynasties were Blacks. There we have
it. Many Greeks from the elite were described as black, and from portraits we
know some also had classical African facial traits we call Black today. So yes,
the Greeks were not Blacks, but their elite who civilized them: self-identified
as Black and often had classical African facial traits, we call Black.</span><span lang="EN-US" style="mso-ansi-language: EN-US;"><o:p></o:p></span><br />
<u1:p></u1:p>
<br />
<span lang="EN-US" style="font-family: "Calibri","sans-serif"; mso-ansi-language: EN-US;">Alexander de Great was seen as ‘swarthy’ (zwart, schwartze) by Apelles
and drawn like that too. The classical Blacks in mythology function in the same
way as heraldic Moors in Renaissance art, to show that all the persons in the
story are elite members, and Black identified and Black derived. There was no
need to identify or describe all the persons as brown or black of complexion.
That was a given with the Greek public. This should also take care of the
question if Cleopatra was Black. She was not white, even if all her ancestors
were Macedonian, because a Macedonian could be brown or Black. And most likely
is that the Greek/Macedonian elite was brown and black, being the first
Europeans, from the soil, coming from Africa. Long before the whites came, who
were considered barbarians, savages, common people, and subsequently enslaved.
Cleopatra could never have been a Queen of Egypt if she was a white person. If
she was a descendent of the whites who came from Central Asia, and considered
barbarians by brown and black Europeans and African'; she could never have been
their Queen.</span><span lang="EN-US" style="mso-ansi-language: EN-US;"><o:p></o:p></span><br />
<u1:p></u1:p>
<br />
<span lang="EN-US" style="mso-ansi-language: EN-US;"><a href="http://books.google.nl/books/about/Black_Athena_Revisited.html?id=AClFWV6PE8wC&redir_esc=y"><span style="font-family: "Calibri","sans-serif";"><span style="color: blue;">http://books.google.nl/books/about/Black_Athena_Revisited.html?id=AClFWV6PE8wC&redir_esc=y</span></span></a><o:p></o:p></span><br />
<u1:p></u1:p>
<br />
<span lang="EN-US" style="font-family: "Calibri","sans-serif"; mso-ansi-language: EN-US;">In this book one can also read all the strange, primitive arguments that
are used till the present day by whites to deny that there were Blacks in
Europe. Lefkowitz talks about Cleopatra, ridiculously equating her
Macedonianness with whiteness. And she says that Socrates might be flat nosed,
but need not be Black. Because no one remarked on his blackness. And if he was
Black, his parents would have been immigrants. But as he was a Greek citizen,
he could not have been an immigrant, so he could not have been Black. End of
discussion. There is a Herculaneum wall painting showing him as black skinned
too. Like the one by Apelles of Alexander the Great showing him as black.</span><span lang="EN-US" style="mso-ansi-language: EN-US;"><o:p></o:p></span><br />
<br />
<span lang="EN-US" style="font-family: "Calibri","sans-serif"; mso-ansi-language: EN-US;">Encouraging to me are all the testimonies that the Greeks were color
blind. Their problem with foreigners was that they were simply foreigners.
Looks and complexion played no part. Its like when we discover that Alessandro
de Medici’s enemies never commented on his blackness, but on his being the
natural son of a peasant woman from Colle Vecchio. If blackness was so much
hated and loathed as the writers of Black Africans in Renaissance Europe (2005)
claim they were, why did Alessandro’s enemies not jump on that terrible fact of
his blackness? Why did Emperor Charles V Habsburg ennobled Alessandro, and why
was he elevated by the pope to the position of Duke of Florence? Why would they
put the son of a Black woman, who was also a slave, as the noble head of
Florence. How could the Florence elite, noble or bourgeoisie and supposedly
lily white, stand for such an abomination? Rational people will always come up
with a rational answer.</span><br />
<br />
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[ The French Philosophers of the Enlightenment were brown and black bourgeoisie
elite members. Yet they invented human races, and invented racism as a
liberation ideology: to free Europe from noble domination.]<span style="font-family: Times New Roman;">
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<br />
[ The French Philosophers of the Enlightenment were brown and black bourgeoisie
elite members. Yet they invented human races, and invented racism as a
liberation ideology: to free Europe from noble domination.]<o:p></o:p><br />
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Odd enough, some members of the European elite were into skin bleaching.<br />They however never dreamed of marrying a white person.<br />This to me is another clue that the elite was not white of complexion.<br />In 'Persuasion' Jane Austen tackles this skin bleaching as 'silly.'<br />She also mentions 'roughing' which was painting the face white.<br />And she names Gowland Lotion (1760), a real life, popular bleaching aid.<br />The face paint was laced with lead white, that was also a bleaching agent.<br />If they used chrome white, the cream was like our today Botox,<br />As it paralyzed the facial muscles to eliminate aging lines.</span></div>
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Gowland Lotion (1760): in "Persuasion "by Jane Austen chapter 16</h3>
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Another clue that the European elite was not white, is their use of skin bleach, and whiteneing make-up that was also a bleach. Jane Austen (1775-1817) was an activist against the lost of power by the brown and black elite, and her novels present a lot of policies, practical facts, views and mores of her era, in regard to the position of the brown and black complexioned aristocracy and gentry. Emma (1816) reads like non-fiction and presents her vision of a post revolutionary Btittain. She still favored Black Supremacy, but modified to accept the brown and black gentry as equal to the aristocracy, against the whites taking over. Yet in the end it was the bougeoisie that caused the downfall of the nobility, as the nobility kept discriminating against the bourgeoisie or gentry. Emma Woodhouse wanting to have black Mr. Elton and white Miss Harriet Smith married, shows the disdain of the nobility for the Blacks who were the bourgeoisie, putting them on the same level as whites who were serfs and villians.</div>
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<strong>It was a reference to the future, which anne, after a little observation, felt she must submit to.</strong></div>
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Sir walter seems surprised by Anne’s look,</div>
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‘less thin in her person, her cheeks; her skin, her complexion, greatly improved—clearer, fresher. had she been using anything in particular! ‘no, nothing at all.’ ‘ha! he was surprised by that . . . you cannot be better than well.’</blockquote>
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interesting how what seems as a question ends in exclamation. and the quotations here, which are not separated by paragraph breaks according to the speaker, inhabit a kind of middle zone between what was said and who is speaking. further, the position of the narrator becomes unclear.</div>
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but, can you be better than well? remember that the early discussions of the looks of mrs clay focused on her plainness . . . a plainness compounded by freckles. in sir walter’s view, her looks have greatly improved due to a manufactured influence:</div>
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I should recommend Gowland, the constant use of Gowland, during the spring months. Mrs Clay has been using it at my recommendation, and see what it has done for her. You see how it has carried away her freckles?"</blockquote>
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according to the ninth footnote in persuasion,</div>
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Gowland’s lotion was evidently an established treatment by then, since Chapman quotes an advertisement in the Bath Chronicle of the period for ‘Mrs Vincent’s Gowland lotion’.<br />
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Goethe</div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">http://www.clockexhibition.nl/images/Huygens_2.jpg<o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">[img]http://www.clockexhibition.nl/images/Huygens_2.jpg[/img]<o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><o:p><span style="font-family: Calibri;"> </span></o:p></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">Christiaan
Huygens is depicted in many ways,<o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">this
engraving shows the strongest classical African facial traits and dark skin,<o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">you can
check the whitened Rembrandt portrait of his uncle Maurits Huygens,<o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">looking
like a raging mulatto.<o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">and
drawings or engravings of his father Constantijn,<o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">who showed
dark of skin.<o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">His grandma
also looks a bit classical African on a Van Mierevelt.<o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">Rogers was
complaining that his criticaster never looked in at his sources,<o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">and often
did not even read his books, that <span style="mso-spacerun: yes;"> </span>they
denounced.<o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">I'm finding
I have the same problem,<o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">while we
today have internet, so anything can be found, <o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">read and
assessed.<o:p></o:p></span></span></div>
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<br /></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">Rogers had
to pay co-workers to be able to loan books from the library,<o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">because as
a Black man he could not enter the library.<o:p></o:p></span></span></div>
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<br /></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">Like me he
based his research mostly on white writers,<o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">but while I
came to read between the lines, <o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">casting
things in an alternative light,<o:p></o:p></span></span></div>
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<br /></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">he often
went along with the lies and the revisionism.<o:p></o:p></span></span></div>
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<br /></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">As he was
not out to deceive, he imagined others would not want to deceive either.<o:p></o:p></span></span></div>
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<br /></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">But he was
wrong, the hatred of Blacks acts as a blinding force, <o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">and forces
white scientist to falsify history, pervert their own findings,<o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">to make
whites into a civilizing force, while they were just immigrants, <o:p></o:p></span></span></div>
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<br /></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">barbarians
and lowly serfs, used as shoe leather by Blacks.<o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><o:p><span style="font-family: Calibri;"> ======================</span></o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><o:p><span style="font-family: Calibri;"></span></o:p></span> </div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><o:p>
</o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><o:p><span style="font-family: Calibri;"> </span></o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">I recently
bought Sex and Race (1941) <o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">by JA
Rogers, three volumes.(euro 95)<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">I
extensively used it for my first book in 2004,<o:p></o:p></span></span></div>
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</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">on the
brown and black skinned European elite.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">Because of
this my first book is now dated and somewhat misguided.<o:p></o:p></span></span></div>
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</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">The
illustration are great and I brought brown and black Dutch nobles out of the
racist closet.<o:p></o:p></span></span></div>
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</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">If twenty
scientist say the same thing, one is bound to accept this as a fact,<o:p></o:p></span></span></div>
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</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">yet only now
I understand how far the revision after 1848 went and why they did this.<o:p></o:p></span></span></div>
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</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">To alter
the portraits was a masterstroke but is also the weakness of the revisionism<o:p></o:p></span></span></div>
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</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">The
physical evidence is still here, it should have been destroyed.<o:p></o:p></span></span></div>
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</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">But we
would still have the personal descriptions, <o:p></o:p></span></span></div>
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</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">the
engravings and the novel personages who are brown and black.<o:p></o:p></span></span></div>
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</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">Rogers
wrote extensively about Blacks in the Greek/Roman world but like<o:p></o:p></span></span></div>
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</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">Snowden he
saw them as immigrants and as a 'strain': but not at the center <span style="mso-spacerun: yes;"> </span>of things.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">Europeans
are equated with 'whites.' Blacks are somehow imbued with slave DNA.<o:p></o:p></span></span></div>
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</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">He named
the nicknames of emperors as 'niger' or 'afer.'<o:p></o:p></span></span></div>
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</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">Yet because
he is blinded by the whitened images, he cannot see the whole.<o:p></o:p></span></span></div>
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</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">Who could
suspect the color of an whole elite to have been changed?<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">How did a
Black man became emperor in Greece if it was dominated by white Europeans?<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">And did he
not have a family, and how did they came to be in this position,<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">and what
happened to the family?<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">So my
research is not about Black DNA among the Greeks, whatever this is,<o:p></o:p></span></span></div>
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</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">But
Europeans who came from Africa, became an elite over <span style="mso-spacerun: yes;"> </span>the European latecomers,<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">and never
mixing with them as the brown and black color stood for nobility and
superiority.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">The brown
and black Europeans were the Greek and Roman noble elite, and some had<o:p></o:p></span></span></div>
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</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">classical
African facial traits, which we sometimes find in images,<o:p></o:p></span></span></div>
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</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">but they
could also have been omitted for some strange reason,<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">as
everybody could understand that the emperor or a noble or a writer <o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">could only
be part of the brown and black complexioned elite.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">So I’m back
to Rogers, he offers sources and details that can be worked, <o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">although he
did not see what he had by way of evidence.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">There are
glimpses and his despair over some sources is obvious,<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">But he was
not Egmond Codfried, and he did not live my life, <o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">and his aim
was really showing that white and black mixing was universal,<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">and did not
cause civilizations falling apart or something the Nazis were claiming.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
==========================</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">The
Greek/Roman civilization <o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">was run by
brown and black skinned people.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">Looking
just like Henrietta Lacks, kin.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">As you seem
to be some senior power here,<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">it is the
likes of you who foster obscurantism.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">I'm
offering scientific research, evidence, sources,<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">images,
description to determine if the paint had darkened,<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">or if the
artist like Apelles saw Alexander the Great <o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">as swarthy,
zwart, black of skin.</span></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;"></span></span> </div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">===========================</span></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: Calibri;"></span> </div>
</span><br />
<h3 class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<u> ON PROGNATHISM</u></h3>
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"></span><br />
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"></span><br />
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"></span><br />
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"></span><br />
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"></span><br />
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"></span><br />
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"></span><br />
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"></span><br />
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"></span><br />
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"></span><br />
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"></span><br />
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"></span><br />
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"></span><br />
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"></span><br />
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"></span><br />
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;"></span></span> </div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;"><strong>THE INVENTION OF HUMAN RACES, A HIERARCHY AND RACISM WAS TO FEREE EUROPE FROM THE BROWN AND BLACK COMPLEXIONED NOBILITY THAT SELF-IDENTIFIED AS BLACK WITH HERALDIC MOORS, SYMBOLIC CLASSICAL AFRICANS. HUMAN RACES ARE AN UN-SCIENTIFIC COCEPT OUTSIDE THE USA, SINCE WWII. HERE SOME IMAGES OF PROGNATHISM, ALSO SEEN ON WHITES, AND TO SHOW THERE IS NOT MUCH DIFFERENCE BETWEEN WHITES AND BLACKS, ITS A CONTINUES FENOTYPE.</strong></span></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: Calibri;"></span> </div>
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The Irish were compared to Blacks in looks and were not regarded as whites in the USA.</div>
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The Sphinx showes subnasal prognathism. The classical Egyptian elite identified as Black.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtRtt-P9tERk6f0QrLAzQdzlIyQB2F7T_6cua4uigfLJhp8MIlG-hoPWWaaVAHSTMLKft_pktsMxnvjeWvzQcu1oVQWQJVZE9wHwIJ2c7ea1jjL1cqYihneMry_7sgwZ20jzQot-r69G4g/s1600/p3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtRtt-P9tERk6f0QrLAzQdzlIyQB2F7T_6cua4uigfLJhp8MIlG-hoPWWaaVAHSTMLKft_pktsMxnvjeWvzQcu1oVQWQJVZE9wHwIJ2c7ea1jjL1cqYihneMry_7sgwZ20jzQot-r69G4g/s320/p3.jpg" width="180" /></a></div>
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Blacks were branded as just a step above apes, because apes were degenerated humans, because of being morally evil, as the nobility was perceived (1760). Racism was a liberation ideology, aimed against the nobility that self-identified as Black. They used the little Heraldic Moors to identify as Black and superior so this symbolism was used against them.</div>
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Ramses II. Astonishingly untill recently this poor man was declared to be white and his whitened hair described as blond, to disproof that Egypts was a Black Civilization.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGhTyIXNxiBiL53GqYXi83Muer3aBzeWdA-1yEHZ4u7_LyorDn4CgXgVgpVevoiCidZZTxJoVOgk0ZFIHlg3Bhl26ajqtsEaMs6ROzoU1cqc-igUfx-9j1k_S8uk_zamJN0X8Wx16f-PzI/s1600/p6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="277" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGhTyIXNxiBiL53GqYXi83Muer3aBzeWdA-1yEHZ4u7_LyorDn4CgXgVgpVevoiCidZZTxJoVOgk0ZFIHlg3Bhl26ajqtsEaMs6ROzoU1cqc-igUfx-9j1k_S8uk_zamJN0X8Wx16f-PzI/s320/p6.jpg" width="320" /></a></div>
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A prognastic Egyptian</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFz-15FxMrJl3DDe4C8u6p5jIgXNQVyL-60GR687n42TmRhhNkUFK8sk3oZ6DycEBM56LQEkcX0pcsN-tQGK1vOsF1v4bRSIOiymc8lYB_nwsmwGig5Am6Btede4SMaEyDilK_7kXmugL7/s1600/p7.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFz-15FxMrJl3DDe4C8u6p5jIgXNQVyL-60GR687n42TmRhhNkUFK8sk3oZ6DycEBM56LQEkcX0pcsN-tQGK1vOsF1v4bRSIOiymc8lYB_nwsmwGig5Am6Btede4SMaEyDilK_7kXmugL7/s320/p7.jpg" width="213" /></a></div>
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A person like this used to be described as African Caucasian, thus white.</div>
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Yet on arrival in the US would not be treated as white.</div>
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This was invented to claim the Egyptian civilization as white.</div>
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And the black complexioned Europeans, the elite, as whites.</div>
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Race is a social construct, and the brown and black complexioned bourgeoisie sided with the whites, and called themselves black Caucasians. So when people say 'there were no blacks' they refer to this slight of hand, to isolate the nobility, and make an alliance between bourgeoisie and whites to topple the nobility.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTjOPc0IYdKoHNYx3x_NlSN3PwH0jo7n6k2P78YToJanQmvhRknBEjeBdcIDNOkv8FZ6JTRTIM3bblMNmjhUnebPy45ygpCwWktapU_LylbJX2TyUSRdQ-KvZ39RT1OvikAtii7RRhzX58/s1600/p8.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="245" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTjOPc0IYdKoHNYx3x_NlSN3PwH0jo7n6k2P78YToJanQmvhRknBEjeBdcIDNOkv8FZ6JTRTIM3bblMNmjhUnebPy45ygpCwWktapU_LylbJX2TyUSRdQ-KvZ39RT1OvikAtii7RRhzX58/s320/p8.jpg" width="320" /></a></div>
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This was supposed to represent a white person, as it did not show prognathism, so classical Egypt was declared white. The prognasthic images were not shown.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbVV9g5mB3XtopEBLqKztdikQjXNmCeYMWrxZTW2hMTty0y0LW3fWqvB47j3VbtXhJLtAmE936tOs9AtAQ2-w6ehgJQ82LhmECwLop3tO52VIi1gC6K0AI8U8Q8NviTCGb36JzdT21LIMM/s1600/p9.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbVV9g5mB3XtopEBLqKztdikQjXNmCeYMWrxZTW2hMTty0y0LW3fWqvB47j3VbtXhJLtAmE936tOs9AtAQ2-w6ehgJQ82LhmECwLop3tO52VIi1gC6K0AI8U8Q8NviTCGb36JzdT21LIMM/s320/p9.jpg" width="230" /></a></div>
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Charles V habsburg, gewit. Met prognathisme</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEintZga7bIaXhRqykVvU1pHTiuX-Kn1NvP7CSRihQmUzg6UHVLXYM9TfFvw1zhN0f-cA68Md8NjDXOiac0ohQerptPPMrt0lZ4MOFthMWNfwwvtaxd6nPx2zaYwsdcpbJpxRDvAGsZuGD7O/s1600/p10.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEintZga7bIaXhRqykVvU1pHTiuX-Kn1NvP7CSRihQmUzg6UHVLXYM9TfFvw1zhN0f-cA68Md8NjDXOiac0ohQerptPPMrt0lZ4MOFthMWNfwwvtaxd6nPx2zaYwsdcpbJpxRDvAGsZuGD7O/s320/p10.jpg" width="320" /></a></div>
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Amy Whinehouse</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifyedThgjLcpIoIT6CpB1NxDtuzQUY5u-RllJ7TAcPKoHEKpNg7jgjAPQt-GSrGh3q5oqCsyoE-okgGxEnlsgmNgfXWz9rnwYf4eqB1NZn0SqCC2mUe2o9akw38oJRzwROp0VMsyRaaUvv/s1600/p11.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifyedThgjLcpIoIT6CpB1NxDtuzQUY5u-RllJ7TAcPKoHEKpNg7jgjAPQt-GSrGh3q5oqCsyoE-okgGxEnlsgmNgfXWz9rnwYf4eqB1NZn0SqCC2mUe2o9akw38oJRzwROp0VMsyRaaUvv/s320/p11.jpg" width="250" /></a></div>
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Gewit portret van Spaanse koning, met natuurlijk prognathisme,</div>
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gepresenteerd als een ziekete door inteelt. Alles om zwartheid weg te verklaren.</div>
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Subnasal prognathis was decalred a disease caused by inbreeding to explain blackness away.</div>
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Black skin and prognathism are often seen together.</div>
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A whitened portrait of a Spanish King.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiByZq4GTkDhvAPJshe_5kfuCf4hIEXuIEvdQnQON5pcUFC_TPjMOlHAlETiyveqYOLawZifLYnpABuKwYYChnW6i2aBOMurrSP-6njIsHnAHYRLbmMLmLUGWANACXjALJMQJEKphca5G-Q/s1600/p12.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiByZq4GTkDhvAPJshe_5kfuCf4hIEXuIEvdQnQON5pcUFC_TPjMOlHAlETiyveqYOLawZifLYnpABuKwYYChnW6i2aBOMurrSP-6njIsHnAHYRLbmMLmLUGWANACXjALJMQJEKphca5G-Q/s320/p12.jpg" width="240" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVazBMnWK-tNGS_D_5qJotwPqqzyBefTmWLT1075hbMenDG55379g07wvuRUTXF2eUdwBvuPyeAhoGM-A5dN9RpsKhufcD9QpX4YqE8Q5vJcKZU79YVaow4b5FfSfH85wXgv54LkYcvnHD/s1600/p12.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVazBMnWK-tNGS_D_5qJotwPqqzyBefTmWLT1075hbMenDG55379g07wvuRUTXF2eUdwBvuPyeAhoGM-A5dN9RpsKhufcD9QpX4YqE8Q5vJcKZU79YVaow4b5FfSfH85wXgv54LkYcvnHD/s320/p12.jpg" width="240" /></a></div>
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Witte persoon met klassieke Afrikaanse trekken.</div>
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White person with classical African facial traits.</div>
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Not to be confused with the looks of the European elite who had brown andd black skin.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsDgWBXxcgS65A0-c9FCsqZXhBi4XHPcUg4VlCxXqx7GXwX4uKiyVyiEkXMlggxCQz68ViFIISuBs1x_bXBRvPOhDlg0Ny37PAjXzfjpKv_OgOzGr-nbwgqGpeBZ5-TWPGDbJhxpyBv9_q/s1600/p14.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsDgWBXxcgS65A0-c9FCsqZXhBi4XHPcUg4VlCxXqx7GXwX4uKiyVyiEkXMlggxCQz68ViFIISuBs1x_bXBRvPOhDlg0Ny37PAjXzfjpKv_OgOzGr-nbwgqGpeBZ5-TWPGDbJhxpyBv9_q/s1600/p14.jpg" /></a></div>
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Cosimo II de Medici</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinsiErRPd9AQsnJZTpVFU1aucPLLyx5MaGey8bjNl6HMfsouV_FawudtCfOnhP4HL9JqttmEUeHGfw4R8LNRt0mNI7MXmJ5hqnG4w5tsDezdUnt30kz-lA00yf4Xoi9EndCZDcj0jRVdO-/s1600/p15.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinsiErRPd9AQsnJZTpVFU1aucPLLyx5MaGey8bjNl6HMfsouV_FawudtCfOnhP4HL9JqttmEUeHGfw4R8LNRt0mNI7MXmJ5hqnG4w5tsDezdUnt30kz-lA00yf4Xoi9EndCZDcj0jRVdO-/s1600/p15.jpg" /></a></div>
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Charles V op een munt: zijn mummie is zwart en erg prognastisch.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2O-_ELsmUbEaeKCtgBOrjLrnEUA7b5CWp3OamMFNSexa8-hGNIkyI9FvglP08QjADQVcK4KOJUrg21JSYGK0f2V0CHYb5hNAwoQn-F3pD_u6eWtnikmNckOdZ1kROvh34bhfTZeTqW2ww/s1600/p16.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2O-_ELsmUbEaeKCtgBOrjLrnEUA7b5CWp3OamMFNSexa8-hGNIkyI9FvglP08QjADQVcK4KOJUrg21JSYGK0f2V0CHYb5hNAwoQn-F3pD_u6eWtnikmNckOdZ1kROvh34bhfTZeTqW2ww/s320/p16.jpg" width="238" /></a></div>
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Charles V Habsburg, gewit: wat een monster.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKvxainbF7KvX4_FVotKGUdN7iqdRlxhEkN1dFvd3TSOqVAiZlQdA3gMjigPPyfeYH2P0oilgbYvHjHYPupwwMsPehjsrQ8tMMcVQl0zq4lRr2VmPHZHmEunVyxZsZe0axjRSAdQQuL5o9/s1600/p17.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKvxainbF7KvX4_FVotKGUdN7iqdRlxhEkN1dFvd3TSOqVAiZlQdA3gMjigPPyfeYH2P0oilgbYvHjHYPupwwMsPehjsrQ8tMMcVQl0zq4lRr2VmPHZHmEunVyxZsZe0axjRSAdQQuL5o9/s320/p17.png" width="315" /></a></div>
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Charles V Habsburg, gewit.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPAipXH5QaVhNbuNKvwiw4sA7lS2jLr5CQ9gXVY-jEyc2lT2617XtmX-DXRGo3g-T6llAD3bubnV72J0pcu5thr3my6d7MfIIWlDuos-cvri2gtgcPTSlyZAlGI4Np1CQAe9lpxxfmgtEX/s1600/p18.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPAipXH5QaVhNbuNKvwiw4sA7lS2jLr5CQ9gXVY-jEyc2lT2617XtmX-DXRGo3g-T6llAD3bubnV72J0pcu5thr3my6d7MfIIWlDuos-cvri2gtgcPTSlyZAlGI4Np1CQAe9lpxxfmgtEX/s320/p18.jpg" width="188" /></a></div>
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Charles V Habsburg door Jan Mostaert, of Afrikaanse man door Jan Mostaert: vergelijk met de miniatuur van Dorothea van Denemarken, Filips II en Ferdinand van Aragon.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQ8SL28bX8cx6xX-v7u-LSqTbfeO8gRL5LBX3njwFtQ2yP5rgcrT_yXXcPg5luV4F-JQQ7ZGmHlA45WI9C5RHDrB9qIMfWCwpARmh_KsdA6I1RlOw8AALco1GAZu4_FAhs11hWQDONJBYE/s1600/a-young-princess-dorothea-of-denmark0.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQ8SL28bX8cx6xX-v7u-LSqTbfeO8gRL5LBX3njwFtQ2yP5rgcrT_yXXcPg5luV4F-JQQ7ZGmHlA45WI9C5RHDrB9qIMfWCwpARmh_KsdA6I1RlOw8AALco1GAZu4_FAhs11hWQDONJBYE/s320/a-young-princess-dorothea-of-denmark0.jpg" width="240" /></a></div>
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Dorothea of Denmark, whitened.<br />
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Dorthe as a child, whitened</div>
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Dorothea of Denmark, Electrise Palantine, niece of Charles V Habsburg: looks classical African and dark skinned.</div>
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Borstbeeld van zilver en gebakken klei van Filips II Habsburg, de zoon van Charles V Habsburg.</div>
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Zeer sterke klassieke Afrikaanse trekken, de huid lichter gemaakt.</div>
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Leopold I Habsburg, Keizer van het Heilige Roomse Rijk.</div>
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'A short, hale black man' volgens Swinborne, opgenomen in Rogers (1941)</div>
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Ferdinand van Aragon en Isabelle van Castilië, gewitte portretten. Hun kleinzoon Charles erfde de dikke lippen blijkbaar van Ferdinand.</div>
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Mick Jagger</div>
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Duquesa de Alba</div>
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Lord Protector</div>
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Zelf-portret Rembrandt. Gewit portret, toont klassieke Afrikaanse gelaatstrekken en kroes haar.</div>
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Metje Bllak, prostitutie spoke-woman</div>
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Esther Canadas</div>
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Zeger Baron van Boetzelaer: bevestigde in een email dat hij 'diklippig,'was,</div>
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maar vanwege een 'terugval.'</div>
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Ursila Cunera Barones van Boetzelaer, moeder van de baron</div>
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Esther Canadas</div>
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POMPEJI EROTICA</h3>
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The Roman elites was brown and black of complexion.</div>
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the whitenes of the women (prostitutes?) symbolized whiteness, beauty or slavedom.</div>
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Greek nobles were forbidden to marry plebeian women by law, but could have sexual relations and children with them. In classical Greek literature the mixing of white and blacks was only discussed in cases of obvious adultery, when a white woman delivered a mixed, black child.</div>
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<br />
The whitening of Belle van Zuylen who wrote: she does not have the white hands. Her grandma was Maria Jacoba van Goor, who looks classical African on a sole H.Serin painting. All portraits were whitened. Even drawings. Did the crayon also darkened?<br />
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<table class="standardtable" id="commentstable">
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<tr><td class="tableheader" colspan="2"><h3 style="text-align: center;">
WHITES WILL NOT ACCEPT THAT THEY ARE NOT NATIVE TO EUROPE, AND WERE RULED BY THE BROWN AND BLACK EUROPEANS WHO CAME FIRST, AND IDENTIFIED AS AFRICAN-EUROPEANS. THIS FACT ALONE INFORMS US THAT THE GREEK AND ROMAN CIVILIZATIONS WERE BLACK IDENTIFIED, AS WAS THE MODERN AGE CIVILIZATION STARTING WITH THE RENAISSANCE.</h3>
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#21 - <a href="http://forums.philosophyforums.com/postreply.php?id=62597&quotepost=1124163#postarea" rel="nofollow">Quote</a> - <a href="http://forums.philosophyforums.com/comments.php?id=62597&findpost=1124163#post1124163" rel="nofollow">Permalink</a></div>
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<span class="commentdate">Posted 08/25/13 - 4:34 AM:</span><br />
<br />
<a href="http://en.wikipedia.org/wiki/Black_Athena" rel="nofollow" target="_blank">http://en.wikipedia.org/wiki/Black_Athena</a><br />
<br />
Bernal wrote about Greece as a Black civilization in Black Athena and alleges <br />
that Greece was whitened in the 18th century. He was right, but I need to find out <br />
if he wrote why this happened, and why beginning in the 18th century.<br />
I assume he did not discover that the European Renaissance and Modern Era <br />
were under Black domination, and these Blacks were the first Europeans.<br />
They were not immigants or slaves as Snowden, or Rogers or all white scientists alledge.<br />
The key is really the false, whitening of portraits in 1848,<br />
by the newly emancipated white serfs, who created an instant history for themselves.<br />
Its so strange, so fanatical, so evil a step, that nobody could have guessed it.<br />
I had collected the black and white portraits of the same person,<br />
and I assumed over painting, but Alison McQueen, The Rise of the Cult of <br />
Rembrandt in 19th century France, 2003, clinched the deal to me. <br />
She provided me with the ideological and historical reasons why they needed <br />
to whiten the faces of the ancien regime. Although McQueen never mentions <br />
that a main part of this cult entailed over painting of old masters <br />
that were suppossed to have darkened.<br />
I will contact mister Bernal today. <br />
<div id="repliesto1124163">
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<hr class="signature" />
Europe was civilized by a brown and black complexioned elite (1100-1848). Everything said about human races is to hide this fact. To end this nonsense of white supremacy, all old master portraits in all museums need to be scrubbed clean of the fake, beige over paint applied after 1848, when whites were finally accepted as equal humans, and no shoe leather anymore. Some have remarked there are no Black writers, scientists, inventors etc. because after 1848 their portraits were over painted with beige and pink. They were whitened. Bluebloodisblackblood.blogspot.com </td></tr>
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<span class="commentdate">Posted 08/25/13 - 4:35 AM:</span><br />
<br />
<a href="http://en.wikipedia.org/wiki/Black_Athena" rel="nofollow" target="_blank">http://en.wikipedia.org/wiki/Black_Athena</a><br />
<br />
Bernal wrote about Greece as a Black civilization in Black Athena and alleges <br />
that Greece was whitened in the 18th century. He was right, but I need to find out <br />
if he wrote why this happened, and why beginning in the 18th century.<br />
I assume he did not discover that the European Renaissance and Modern Era <br />
were under Black domination, and these Blacks were the first Europeans.<br />
They were not immigants or slaves as Snowden, or Rogers or all white scientists alledge.<br />
The key is really the false, whitening of portraits in 1848,<br />
by the newly emancipated white serfs, who created an instant history for themselves.<br />
Its so strange, so fanatical, so evil a step, that nobody could have guessed it.<br />
I had collected the black and white portraits of the same person,<br />
and I assumed over painting, but Alison McQueen, The Rise of the Cult of <br />
Rembrandt in 19th century France, 2003, clinched the deal to me. <br />
She provided me with the ideological and historical reasons why they needed <br />
to whiten the faces of the ancien regime. Although McQueen never mentions <br />
that a main part of this cult entailed over painting of old masters <br />
that were suppossed to have darkened.<br />
I will contact mister Bernal today.<br />
<br />
<a href="http://www.myweku.com/wp-content/uploads/2013/02/Black-Athena.jpg" rel="nofollow" target="_blank">http://www.myweku.com/wp-content/uploads/2013/02/Black-Athena.jpg</a><br />
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<hr class="signature" />
Europe was civilized by a brown and black complexioned elite (1100-1848). Everything said about human races is to hide this fact. To end this nonsense of white supremacy, all old master portraits in all museums need to be scrubbed clean of the fake, beige over paint applied after 1848, when whites were finally accepted as equal humans, and no shoe leather anymore. Some have remarked there are no Black writers, scientists, inventors etc. because after 1848 their portraits were over painted with beige and pink. They were whitened. Bluebloodisblackblood.blogspot.com </td></tr>
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<span class="commentdate">Posted 08/25/13 - 4:38 AM:</span><br />
<br />
<a href="http://www.nytimes.com/2013/06/23/arts/martin-bernal-black-athena-scholar-dies-at-76.html?_r=0" rel="nofollow" target="_blank">http://www.nytimes.com/2013/06/23/...holar-dies-at-76.html?_r=0</a><br />
<br />
He died this year. <br />
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Europe was civilized by a brown and black complexioned elite (1100-1848). Everything said about human races is to hide this fact. To end this nonsense of white supremacy, all old master portraits in all museums need to be scrubbed clean of the fake, beige over paint applied after 1848, when whites were finally accepted as equal humans, and no shoe leather anymore. Some have remarked there are no Black writers, scientists, inventors etc. because after 1848 their portraits were over painted with beige and pink. They were whitened. Bluebloodisblackblood.blogspot.com </td></tr>
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<span class="commentdate">Posted 08/25/13 - 4:50 AM:</span><br />
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<span class="quoteby">blue blood wrote:</span><br />
<a href="http://www.nytimes.com/2013/06/23/arts/martin-bernal-black-athena-scholar-dies-at-76.html?_r=0" rel="nofollow" target="_blank">http://www.nytimes.com/2013/06/23/...holar-dies-at-76.html?_r=0</a><br />
<br />
He died this year.</div>
<br />
<br />
<br />
[quote]<br />
His thesis was this: For centuries, European historians of classical Greece had hewed closely to the origin story suggested by Plato, Herodotus and Aeschylus, whose writings acknowledged the Greek debt to Egyptian and Semitic (or Phoenician) forebears. <br />
<br />
But in the 19th century, he asserted, with the rise of new strains of racism and anti-Semitism along with nationalism and colonialism in Europe, historians expunged Egyptians and Phoenicians from the story. The precursors of Greek, and thus European, culture were seen instead as white Indo-European invaders from the north. <br />
<br />
In the first volume of “Black Athena,” which carried the forbidding double subtitle “The Afroasiatic Roots of Classical Civilization: The Fabrication of Ancient Greece — 1785-1985,” Mr. Bernal described his trek through the fields of classical Greek literature, mythology, archaeology, linguistics, sociology, the history of ideas and ancient Hebrew texts to formulate his theory of history gone awry (though he did not claim expertise in all these subjects). <br />
<br />
The scholarly purpose of his work, he wrote in the introduction, was “to open up new areas of research to women and men with far better qualifications than I have,” adding, “The political purpose of ‘Black Athena,’ is, of course, to lessen European cultural arrogance.” <br />
<br />
He published “Black Athena 2: The Archaeological and Documentary Evidence” in 1991, and followed it in 2006 with “Black Athena 3: The Linguistic Evidence.” <br />
<br />
Another book, “Black Athena Writes Back,” published in 2001, was a response to his critics, who were alarmed enough by Mr. Bernal’s work to publish a collection of rebuttals in 1996, “Black Athena Revisited.” <br />
<br />
One critic derided Mr. Bernal’s thesis as evidence of “a whirling confusion of half-digested reading.” Some were more conciliatory. J. Ray, a British Egyptologist, wrote, “It may not be possible to agree with Mr. Bernal, but one is the poorer for not having spent time in his company.” <br />
<br />
Stanley Burstein, a professor emeritus of ancient Greek history at California State University, Los Angeles, said Mr. Bernal’s historiography — his history of history-writing on ancient Greece — was flawed but valuable. “Nobody had to be told that Greece was deeply influenced by Egypt and the Phoenicians, or that 19th-century history included a lot of racial prejudice,” he said in a phone interview Tuesday. “But then, nobody had put it all together that way before.” <br />
<br />
The specific evidence cited in his books was often doubtful, Professor Burstein added, but “he succeeded in putting the question of the origins of Greek civilization back on the table.” <br />
[\quote]<br />
<br />
I earlier noted that even university professors with new findings like Martin Bernal, <br />
and Ivan van Sertima about the Olmecs were answered by their peers in such ignorant, <br />
rude, obscurantists terms. How their findings were twisted to ridicule.<br />
So presenting my findings is not a question of the scientific level, or providing many sources,<br />
or even appealing to other scientists.<br />
Their mind is blocked to this particular sort of information and innovation.<br />
We need other means to get this message through. <br />
<div id="repliesto1124171">
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Europe was civilized by a brown and black complexioned elite (1100-1848). Everything said about human races is to hide this fact. To end this nonsense of white supremacy, all old master portraits in all museums need to be scrubbed clean of the fake, beige over paint applied after 1848, when whites were finally accepted as equal humans, and no shoe leather anymore. Some have remarked there are no Black writers, scientists, inventors etc. because after 1848 their portraits were over painted with beige and pink. They were whitened. Bluebloodisblackblood.blogspot.com </td></tr>
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<span class="commentdate">Posted 08/25/13 - 4:51 AM:</span><br />
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<br />
His thesis was this: For centuries, European historians of classical Greece had hewed closely to the origin story suggested by Plato, Herodotus and Aeschylus, whose writings acknowledged the Greek debt to Egyptian and Semitic (or Phoenician) forebears. <br />
<br />
But in the 19th century, he asserted, with the rise of new strains of racism and anti-Semitism along with nationalism and colonialism in Europe, historians expunged Egyptians and Phoenicians from the story. The precursors of Greek, and thus European, culture were seen instead as white Indo-European invaders from the north. <br />
<br />
In the first volume of “Black Athena,” which carried the forbidding double subtitle “The Afroasiatic Roots of Classical Civilization: The Fabrication of Ancient Greece — 1785-1985,” Mr. Bernal described his trek through the fields of classical Greek literature, mythology, archaeology, linguistics, sociology, the history of ideas and ancient Hebrew texts to formulate his theory of history gone awry (though he did not claim expertise in all these subjects). <br />
<br />
The scholarly purpose of his work, he wrote in the introduction, was “to open up new areas of research to women and men with far better qualifications than I have,” adding, “The political purpose of ‘Black Athena,’ is, of course, to lessen European cultural arrogance.” <br />
<br />
He published “Black Athena 2: The Archaeological and Documentary Evidence” in 1991, and followed it in 2006 with “Black Athena 3: The Linguistic Evidence.” <br />
<br />
Another book, “Black Athena Writes Back,” published in 2001, was a response to his critics, who were alarmed enough by Mr. Bernal’s work to publish a collection of rebuttals in 1996, “Black Athena Revisited.” <br />
<br />
One critic derided Mr. Bernal’s thesis as evidence of “a whirling confusion of half-digested reading.” Some were more conciliatory. J. Ray, a British Egyptologist, wrote, “It may not be possible to agree with Mr. Bernal, but one is the poorer for not having spent time in his company.” <br />
<br />
Stanley Burstein, a professor emeritus of ancient Greek history at California State University, Los Angeles, said Mr. Bernal’s historiography — his history of history-writing on ancient Greece — was flawed but valuable. “Nobody had to be told that Greece was deeply influenced by Egypt and the Phoenicians, or that 19th-century history included a lot of racial prejudice,” he said in a phone interview Tuesday. “But then, nobody had put it all together that way before.” <br />
<br />
The specific evidence cited in his books was often doubtful, Professor Burstein added, but “he succeeded in putting the question of the origins of Greek civilization back on the table.” </div>
<br />
<br />
<br />
His thesis was this: For centuries, European historians of classical Greece had hewed closely to the origin story suggested by Plato, Herodotus and Aeschylus, whose writings acknowledged the Greek debt to Egyptian and Semitic (or Phoenician) forebears. <br />
<br />
But in the 19th century, he asserted, with the rise of new strains of racism and anti-Semitism along with nationalism and colonialism in Europe, historians expunged Egyptians and Phoenicians from the story. The precursors of Greek, and thus European, culture were seen instead as white Indo-European invaders from the north. <br />
<br />
In the first volume of “Black Athena,” which carried the forbidding double subtitle “The Afroasiatic Roots of Classical Civilization: The Fabrication of Ancient Greece — 1785-1985,” Mr. Bernal described his trek through the fields of classical Greek literature, mythology, archaeology, linguistics, sociology, the history of ideas and ancient Hebrew texts to formulate his theory of history gone awry (though he did not claim expertise in all these subjects). <br />
<br />
The scholarly purpose of his work, he wrote in the introduction, was “to open up new areas of research to women and men with far better qualifications than I have,” adding, “The political purpose of ‘Black Athena,’ is, of course, to lessen European cultural arrogance.” <br />
<div id="repliesto1124172">
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<hr class="signature" />
Europe was civilized by a brown and black complexioned elite (1100-1848). Everything said about human races is to hide this fact. To end this nonsense of white supremacy, all old master portraits in all museums need to be scrubbed clean of the fake, beige over paint applied after 1848, when whites were finally accepted as equal humans, and no shoe leather anymore. Some have remarked there are no Black writers, scientists, inventors etc. because after 1848 their portraits were over painted with beige and pink. They were whitened. Bluebloodisblackblood.blogspot.com <br />
<br />
======================================================<br />
<br />
<br />
<h3 style="text-align: center;">
WHITES WILL NOT ACCEPT THAT THEY ARE NOT NATIVE TO EUROPE, AND WERE RULED BY THE BROWN AND BLACK EUROPEANS WHO CAME FIRST, AND IDENTIFIED AS AFRICAN-EUROPEANS. THIS FACT ALONE INFORMS US THAT THE GREEK AND ROMAN CIVILIZATIONS WERE BLACK IDENTIFIED, AS WAS THE MODERN AGE CIVILIZATION STARTING WITH THE RENAISSANCE.</h3>
<br />
<a data-ved="0CAUQjRw" href="http://realhistoryww.com/world_history/ancient/Misc/Crests/Crests.htm" id="irc_mil" style="border: 0px currentColor;"><img height="608" id="irc_mi" src="http://realhistoryww.com/world_history/ancient/Misc/Crests/Drake_Jewel_1.jpg" style="margin-top: 8px;" width="475" /></a><br />
<a data-ved="0CAUQjRw" href="http://tcdh.wordpress.com/2011/08/16/blacks-in-antiquity/" id="irc_mil" style="border: 0px currentColor;"><img height="475" id="irc_mi" src="http://tcdh.files.wordpress.com/2011/08/blacks.jpg" style="margin-top: 74px;" width="312" /></a><br />
<br />
The early Greek vase with two heads is a less severe identification of the Greek elite as between white and Black, while the later European Modern Age's (1100-1848) brown and black elite symbolised their rule as Black dominating white, as seen on the renaissance Medici cameo, while the Black Moor, as King, also symbolised their Black superiority. The Moor was the purest type among them. Perhaps early Greece had a lesser number of whites, then later on when the majority of whites arrived in Europe around 400 AD. The Egyptian iconography showed hybrid figures. They wanted to show both the peoples of Upper, and Lower Egypts as one people, one nation. So the face of the Pharaoh reflected the types from both parts of Egypt. Yet is remarked by an antique Greek historian that some Egyptian dynasties were Black in looks. This is what some writers mean when they said Egypt was a Black civilization. The elite, the ruling people were Black in looks. They choose Black partners to remain Black. To identify a person as Black, one needs first to ask if he considers himself Black. If this is not possible the identity of the marriage partner, or church or social or political affilation might offer a clue. So I'm in favour of a civilization to show signs or symbols of blackness, to be able to identify such a culture or civilization as Black.<br />
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<span class="commentdate">Posted 08/27/13 - 2:45 AM:</span><br />
<br />
This problem cannot be settled if the question of the falsely, whitened portraits in 1848 is not acknowledged.<br />
Like with other researchers, I see them coming very close to what I have discovered, that European civilizations were founded by brown and black complexioned Europeans who self-identified as Black, but they are not pushing through.Why? The idea of an elite that looks different from the people they rule is not new or unheard of. Bernal finds that the classical view of Greece, which had lasted for more then 2000 years was replaced in the 1840 ies. He does not ask why, what had changed in Europe meriting such a momentous intervention. I need to get hold of the first volume of Black Athene, as he acknowledged racist professors messing with established history, but from the fall out I can tell, he did not understand that whites were emancipated and did not want an European history that showed them as barbarians, plebejers, and shoe leather. Yet it seems that the whitening of Greece started before 1848, so the change came gradually.To appease the whites, the bourgeosie went far in their rejection of blackness, they already self-identified as (black)Caucasians, causing all this confusion. People who claim: there were no Blacks, are partially right, because the Blacks were classed as Caucasians, in spite of looks. Next the proof of their looks was also adapted, and thus tampered with, by over painting all portraits with beige and pink. Some nobles have always painted and bleached themselves, so there was a precedent. The books that were published in the wake of the turmoil that Black Athena caused are most enlighting. There is even this woman who rather shamefacedly explains that the base of Greek civilization came out of the North Levant, meaning Israel, and later on brought to Europe by Sephardian scribes who worked for the Spanish Moors. The mistery of etymology was finally explained to me, why there often is no visible connection to the earlier form of a word because consonants and vowels are changed according to a fixed pattern, and replaced by wholly different combinations of vowels and consonants. Bernal is supposed not to have known this and he goes for superficial similarities. Coming to wrong conclusions. But to me, the fear and hatred of Blacks speaks loudly. Some of these whites even do not want to acknowledge that Black researchers were overjoyed by Black Athena, because they would have to concede their are Black scientist, and they would also have to name them. I guess that's why in Black Athena Revisited the token Black was Frank Snowden, not really understanding the point, but explaining that Egyptians cannot be called Blacks. Nor can the Greek elite, but they were brown and black, and acknowledged the classical African, the Black African as the purest type of their nation. Sowden, fighting for hs acceptance by whites, is hostile to afrocantric researchers. I think that the status of the brown and black complexioned Greek elite was more benignly symbolised with the symbol of Scyth and Ethiopians, back to back, while the later Modern Age Civilisation choose the cameo, with a Black King overlapping a white woman, meaning Black supremacy over whites in Europe. The Greeks apparently had to deal with less whites, than the Modern and Early Modern noble elite (1100-1848). But still had strict laws against lower ranks marrying higher ranks. </td></tr>
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Renaissance: Cleopatra</div>
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Cleopatra</div>
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Theda Bara as Cleopatra</div>
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Caracalla, Roman Emperor</div>
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Caracalla</div>
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Caracalla</div>
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Liz Taylor</div>
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Napata</div>
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Pan or Bes</div>
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<o:p></o:p></span><br />Egmond Codfriedhttp://www.blogger.com/profile/10597005835134961469noreply@blogger.com0tag:blogger.com,1999:blog-1401624891557825179.post-58225468046877394112013-08-10T06:13:00.001-07:002013-08-12T02:23:00.139-07:00<span style="font-family: Calibri;"><span style="font-family: Times New Roman;">
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WELCOME UKRAINE <o:p></o:p></h2>
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<span lang="EN-US" style="font-size: 12pt; mso-ansi-language: EN-US; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL; mso-hansi-font-family: Calibri;"></span><br />
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<span lang="EN-US" style="font-size: 12pt; mso-ansi-language: EN-US; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL; mso-hansi-font-family: Calibri;"><a href="http://api.ning.com/files/u3fcJmJ3QG9cC3wlb4SZvzOpl1nvc8nnK04rcs2wsFfjMLzxyf0pevq1cBbEKW2Zf*FznjnKGTqDQuvqrAgKeZr47sEJ*-pD/Pushkinsfamilybluebloodisblackblodegmondcodfried.jpg">http://api.ning.com/files/u3fcJmJ3QG9cC3wlb4SZvzOpl1nvc8nnK04rcs2wsFfjMLzxyf0pevq1cBbEKW2Zf*FznjnKGTqDQuvqrAgKeZr47sEJ*-pD/Pushkinsfamilybluebloodisblackblodegmondcodfried.jpg</a></span><br />
<span lang="EN-US" style="font-size: 12pt; mso-ansi-language: EN-US; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL; mso-hansi-font-family: Calibri;"></span><br />
<span lang="EN-US" style="font-size: 12pt; mso-ansi-language: EN-US; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL; mso-hansi-font-family: Calibri;"></span><br />
<span lang="EN-US" style="font-size: 12pt; mso-ansi-language: EN-US; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL; mso-hansi-font-family: Calibri;">Dear Ukraine, I was delighted
to find your country third on the list of countries were the visitors of my
blog reside. But Alexander S. Pushkin is about the only Russian in my research,
now expanded to include Maya Gartung-Pushkin, his eldest daughter, who stood
model for Anna Karenina by Leo Tolstoy. Coincidentally I have this plan to
learn Russian so I can be able to read Pushkin myself, and finding out about
the visits by Ukrainians reinforces this idea. As I say Russian I refer to the language i suppose Ukrainians speak.</span></div>
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me a email to explain: egmondcodfried@hotmail.com</span><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12pt; mso-ansi-language: EN-US; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL; mso-hansi-font-family: Calibri;">Today is 10 Augustus 2013.</span><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12pt; mso-ansi-language: EN-US; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL; mso-hansi-font-family: Calibri;">The stats are:</span><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;"><o:p></o:p></span></div>
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<table border="0" cellpadding="0" cellspacing="0" class="MsoNormalTable" style="mso-cellspacing: 0cm; mso-padding-alt: 0cm 0cm 0cm 0cm; mso-yfti-tbllook: 1184;"><span style="font-family: Times New Roman;">
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<span style="font-size: 12pt; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL; mso-hansi-font-family: Calibri;">Pageviews vandaag,</span><span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;"><o:p></o:p></span></div>
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<span style="font-size: 12pt; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL; mso-hansi-font-family: Calibri;"><span style="mso-spacerun: yes;"> </span>today: 32</span><span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;"><o:p></o:p></span></div>
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<table border="0" cellpadding="0" cellspacing="0" class="MsoNormalTable" style="mso-cellspacing: 0cm; mso-padding-alt: 0cm 0cm 0cm 0cm; mso-yfti-tbllook: 1184;"><span style="font-family: Times New Roman;">
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<span style="font-size: 12pt; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL; mso-hansi-font-family: Calibri;">Pageviews gisteren, yesterday: </span><span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;"><o:p></o:p></span></div>
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<span style="font-size: 12pt; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL; mso-hansi-font-family: Calibri;">83</span><span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;"><o:p></o:p></span></div>
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<span style="display: none; font-family: "Times New Roman","serif"; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL; mso-hide: all;"><o:p> </o:p></span></div>
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<table border="0" cellpadding="0" cellspacing="0" class="MsoNormalTable" style="mso-cellspacing: 0cm; mso-padding-alt: 0cm 0cm 0cm 0cm; mso-yfti-tbllook: 1184;"><span style="font-family: Times New Roman;">
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<span lang="EN-US" style="font-size: 12pt; mso-ansi-language: EN-US; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL; mso-hansi-font-family: Calibri;">Pageviews vorige maand, last
month: </span><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;"><o:p></o:p></span></div>
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<span style="font-size: 12pt; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL; mso-hansi-font-family: Calibri;">2.024</span><span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;"><o:p></o:p></span></div>
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<table border="0" cellpadding="0" cellspacing="0" class="MsoNormalTable" style="mso-cellspacing: 0cm; mso-padding-alt: 0cm 0cm 0cm 0cm; mso-yfti-tbllook: 1184;"><span style="font-family: Times New Roman;">
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<span style="font-size: 12pt; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL; mso-hansi-font-family: Calibri;">Pageviews geschiedenis</span><span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;"><o:p></o:p></span></div>
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<span style="font-size: 12pt; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL; mso-hansi-font-family: Calibri;">, historical: 26.812</span><span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;"><o:p></o:p></span></div>
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<b><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 18pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;"><o:p></o:p></span></b> </div>
Egmond Codfriedhttp://www.blogger.com/profile/10597005835134961469noreply@blogger.com0tag:blogger.com,1999:blog-1401624891557825179.post-71555423560680022232013-08-07T04:33:00.002-07:002013-08-27T04:02:55.688-07:00<h2 class="separator" style="clear: both; text-align: center;">
ANNA KARENINA BY LEO TOLSTOY WAS BASED ON A BLACK WOMAN, MARYA PUSHKINA, PUSHKINS ELDEST DAUGHTER</h2>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1MhBzh8w-0iwg97JAT2MYtajPQaKqD0qRW7RicE0ePxbhJao7fRiQM8t6y7li5hxDpQicnepFdxlVvYdd9Axf3Z2k0og1q_T8yKWtQYqpiXbaWhzjEhTL9TSHWnwErLqtCkAn3G6w7Gp_/s1600/tolstoy-post-card-00281100294.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1MhBzh8w-0iwg97JAT2MYtajPQaKqD0qRW7RicE0ePxbhJao7fRiQM8t6y7li5hxDpQicnepFdxlVvYdd9Axf3Z2k0og1q_T8yKWtQYqpiXbaWhzjEhTL9TSHWnwErLqtCkAn3G6w7Gp_/s320/tolstoy-post-card-00281100294.jpg" width="193" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4OoLvsjXl3PDvKNfT54x9VYQrBWUwyjmjQnVovNifIopmb118iWzKtgdihe5rMyxDHcNlcs9C1UA0rzoJKLRTKP0pUVtuD0L60N2MXPoKGqovlvVBbfDH27qw-S_T-8dOucwlRu_n_szK/s1600/tolstoy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4OoLvsjXl3PDvKNfT54x9VYQrBWUwyjmjQnVovNifIopmb118iWzKtgdihe5rMyxDHcNlcs9C1UA0rzoJKLRTKP0pUVtuD0L60N2MXPoKGqovlvVBbfDH27qw-S_T-8dOucwlRu_n_szK/s1600/tolstoy.jpg" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif7GmUuZtuI9Ofl8bThbu6jRl2EyDQ4grT-WvZpGksLhDOg2g-buWf2HhJXwFSRUC5BBcTEF4ecsHF6u1wDoBddMQprDKQ2FfowjWw7HO0ZrTh2qgYvGCt6Jph0FMNXiV2ivzDfX-yuw9c/s1600/Leo-Tolstoy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif7GmUuZtuI9Ofl8bThbu6jRl2EyDQ4grT-WvZpGksLhDOg2g-buWf2HhJXwFSRUC5BBcTEF4ecsHF6u1wDoBddMQprDKQ2FfowjWw7HO0ZrTh2qgYvGCt6Jph0FMNXiV2ivzDfX-yuw9c/s320/Leo-Tolstoy.jpg" width="289" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh850DbSkNQx6nIjS14PqyZaKwk0Y9FEoTGiHj1kZ67V6iI-OfrX7gom8u1Cl8hAn5wpIZyM1MK2CRJkLeuu8SixDZelz054O9Dl3CQpJ1YIz-Bij8k8fe58ixLKysNQYm0Gsj4Bz8R_T6J/s1600/Leo-Tolstoy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh850DbSkNQx6nIjS14PqyZaKwk0Y9FEoTGiHj1kZ67V6iI-OfrX7gom8u1Cl8hAn5wpIZyM1MK2CRJkLeuu8SixDZelz054O9Dl3CQpJ1YIz-Bij8k8fe58ixLKysNQYm0Gsj4Bz8R_T6J/s320/Leo-Tolstoy.jpg" width="289" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQhTcyodsLhM9BueA5G2TMxoTDvEc-_lRtc0ZjUzws9oj_mpL_lg4rjTQe6pRTq2sJL-tpn-o3xWT87oeggyYcFH60FgXLMVGcqZ6PLDid7j8NHGMmN-STYJb45g1jzItrbYFDi2JcP9g-/s1600/ltolstoy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQhTcyodsLhM9BueA5G2TMxoTDvEc-_lRtc0ZjUzws9oj_mpL_lg4rjTQe6pRTq2sJL-tpn-o3xWT87oeggyYcFH60FgXLMVGcqZ6PLDid7j8NHGMmN-STYJb45g1jzItrbYFDi2JcP9g-/s1600/ltolstoy.jpg" /></a></div>
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Leo Tolstoy looked dark complexioned with a broad, flattened nose:</div>
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he would not be considered white today. His looks were normal for a nobleman.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjppOdu8fgOJVB9axbWhJhAtFj9FXgm-0eJ1dtZkFSGxxRWRGxuYuuLWJawcwWh16WwpQ57KfsyNRwom-T3fCfntpfncJbOmBGC-RIJoABXboQ6T_1UUgDa9ehZeGyMBcFBQz56ctB-weDa/s1600/pushkinas+aboy+of+14years.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjppOdu8fgOJVB9axbWhJhAtFj9FXgm-0eJ1dtZkFSGxxRWRGxuYuuLWJawcwWh16WwpQ57KfsyNRwom-T3fCfntpfncJbOmBGC-RIJoABXboQ6T_1UUgDa9ehZeGyMBcFBQz56ctB-weDa/s1600/pushkinas+aboy+of+14years.jpg" /></a></div>
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The Greatest Russian Poet Alexander Sergeyvich Pushkin was recognized at 14 years old as a great talent, and was nurtured, in a way, by the state. Pushkins blackness was no big deal for the other nobles who were brown and black of skin themselves; its only today some writers like to dramatise his look and twist some remarks to sound racist. The women all loved him, and he cannot be blaimed for the other wife flogging, bigamist Hannibals.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3jL2ITriBoTtqPeULO9Q7Pth-bYrMvFCXVyc_O7K1LxYef_X_chKuVABiZHEvmvTGbUpFxx8P4tGbxbQjyGWLKKpWm8VzE92ObF-08hAhdJA_GyJuMvgw9BUVXZcy5Y-LxEMYenbeMzrI/s1600/pushkin4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3jL2ITriBoTtqPeULO9Q7Pth-bYrMvFCXVyc_O7K1LxYef_X_chKuVABiZHEvmvTGbUpFxx8P4tGbxbQjyGWLKKpWm8VzE92ObF-08hAhdJA_GyJuMvgw9BUVXZcy5Y-LxEMYenbeMzrI/s1600/pushkin4.jpg" /></a></div>
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His true deathmask showing classical African facial traits. The revisionists even fake deathmask to hide classical African facial traits, so they can claim: 'there were no Blacks.'</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRFYdK5Hlj1z-2ZsazohsZWTlC2VhYywWbyoA2usJEzVMwXEHme_fw_kiEDGTvkOC_E3YZWtyW0SLm8pSK2kF2yYWX7IuL81zee7MLxpMLWA1GYaio2_D_T6am2ciNFDkfEgnB2pB0Ysnq/s1600/Pushkin3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="235" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRFYdK5Hlj1z-2ZsazohsZWTlC2VhYywWbyoA2usJEzVMwXEHme_fw_kiEDGTvkOC_E3YZWtyW0SLm8pSK2kF2yYWX7IuL81zee7MLxpMLWA1GYaio2_D_T6am2ciNFDkfEgnB2pB0Ysnq/s320/Pushkin3.jpg" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2aQpVXeo72N5otxcVq3CBkVTVguY9_KiHxNq5mx2IB18PqwEAhWicWnEyP3M5wdwINdCFLjSv3Rvn01NcbXkQn239JVTLZVAsyhZdOH-Nko7QUKIM0e7SB3hYgc_E7jWS38nS9IPU4t6i/s1600/pushkin2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2aQpVXeo72N5otxcVq3CBkVTVguY9_KiHxNq5mx2IB18PqwEAhWicWnEyP3M5wdwINdCFLjSv3Rvn01NcbXkQn239JVTLZVAsyhZdOH-Nko7QUKIM0e7SB3hYgc_E7jWS38nS9IPU4t6i/s1600/pushkin2.jpg" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiG9vBpOHUaXfcBmX8C_4f94VxXxofT_nplJwbaYWB_dkbkJFEW8jcMpWsTqfERr-mI1_9GlfF5ZyxuTBpAUBr7xpsb8J5k7O9LJI4sN7v_Ylm1ECvT4_4o8yQpHTQU2TatJJCK_vJitTKl/s1600/pushkin.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiG9vBpOHUaXfcBmX8C_4f94VxXxofT_nplJwbaYWB_dkbkJFEW8jcMpWsTqfERr-mI1_9GlfF5ZyxuTBpAUBr7xpsb8J5k7O9LJI4sN7v_Ylm1ECvT4_4o8yQpHTQU2TatJJCK_vJitTKl/s1600/pushkin.png" /></a></div>
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Natalya Goncharova, Pushkins mother-in-law. Her face was quite black, so her daughter must have been very dark too, and still was the most beautiful woman in Russia. Why are there no photo's from this wonderously beautiful woman?</div>
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Marya Pushkina, Marya Gartung, Pushkin's eldest daughter.</div>
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'His spitting image,' says a Pushkin biographer: and she looks prognastic. Her color must have been very dark from both her parents and this is a hideously whitened portrait. Why are there no photo's?</div>
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A dark Anna Karenina</div>
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All the fake, whitened Anna Karenina's, Vivian Leigh, beautiful but an irritating movie.</div>
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Marya Pushkina, as a young woman: showing prognatism, on a whitened portrait.</div>
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ANNA KARENINA BY LEO TOLSTOY WAS BASED ON A BLACK WOMAN, MARYA PUSHKINA, PUSHKINS ELDEST DAUGHTER<br />
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Tolstoy based his fictatious Anna Karenina on Marya Alexandrovna Pushkina, the eldest daughter of writer Alexander Sergeyvich Pushkin. He is of interest to my research because as a fourth generation African-Russian he still had strong classical African looks and a very dark skin. This could only be possible if all his recent ancestors were brown or black complexioned. And not only on his mothersside, The Hannibals; but also among the Pushkins. He described himself as 'a Negro' and Marya was his spitting image. So she was Black. Her maternal granmother Natalya was drawn by Pushkin as a woman with a Black face. So in spite of the few portraits of the most beautiful woman in Russia that show a white woman, Natalya Gonchorova who married Pushkin had dark or black skin. Strangely no photo's to be found of this great, famous beauty. Read Henry Troyats bio, but try to look at as much portraits as possible to confirm that the Russian elite was brown and black of complexion. The whites were their serfs.The later biographies want to emphsize his blackness, while he was not much different in this respect from his surroundings. They also want to link looks (Race) with behavior, because some Hannibals were indeed wife beaters, bigamist and wife murderers. Again this was perfectly consistent with those times and among the elite class. <br />
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Leo Tolstoy, the autor of Anna Karenina shows a very dark complexion and a broad nose.</div>
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<br />Egmond Codfriedhttp://www.blogger.com/profile/10597005835134961469noreply@blogger.com0tag:blogger.com,1999:blog-1401624891557825179.post-3435502418259838942013-08-07T04:13:00.001-07:002013-08-28T07:59:15.619-07:00<h2 style="text-align: center;">
BLACKNESS IN THE NOVELS OF CHARLOTTE BRONTË EN HER SISTERS</h2>
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Sister Anna Brontë</div>
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Husband of Charlotte Brontë</div>
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Her sister, but fits the description that Charlotte had too large a mounth.</div>
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Charlotte Gainsborough playing an ugly Jane Eyre. She is capable but so much realism is too tiresome after two hours of watching her face.</div>
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The latest, is too beautiful. There are furtively shown a black maid, and two black carriage drivers, while all the main characers should be played by brown and black complexioned actors, following the descritions in the book.</div>
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A dark skinned Charlotte Brontë</div>
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Charlotte Gainsborough as Jane Eyre, who was described as 'ugly.'.</div>
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Like in the novels of Jane Austen there are plenty of brown and black complexioned personages in the works by Charlotte Brontë. She is almost scientific in her descriptions of the aunt of Jane Eyre who is black and has a strong jaw, meaning subnasal prognathism. To describe the cousin St. John as white Brontë compares him to the Apollo Belvedere. But most blackness is astonischingly found in her juvenalia, her many stories set in Angria, which is Africa. With whites and Blacks interacting.<br />
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<span lang="EN-US" style="color: #333333; font-family: "Verdana","sans-serif"; mso-ansi-language: EN-US;">Its quite interesting that this
important and famous European novel has a Black man at it's center, and the
analysis' usually claim not to really know what the writer Emily Brontë meant.
With my blue blood is black blood theory (1100-1848) it can be tackled. Up till
now, they had usually used a white actor, with some dark make-up to play
Heathcliff. This was also done to Othello, The Moor of Venice for a long time,
but nowadays its always a Black actor. Yet the invective in this play is
misunderstood, as during Shakespeare time there were not so many Blacks to
merit such censure. The question is who are the Blacks, the Moors he was
talking about and how could they be the highest military in Venice, if Blacks
were hated that much. Because both Charlotte and Emily have Blacks and browns
in their books, I suggest all Blacks who read should get into the action. It's
about Blacks. If you can, check out Charlotte's juvenilia about Angria, which
is Africa and all the wonderful stories she wrote down based in Africa. There
should be a connection between Africa, the Brontës en Heathcliff.<br />
<br />
</span><span style="color: #333333; font-family: "Verdana","sans-serif";"><a href="http://mulibraries.missouri.edu/specialcollections/exhibits/brontemanuscript.htm" sl-processed="1" target="_blank"><span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="color: #1d558f;">http://mulibraries.missouri.edu/spec...manuscript.htm</span></span></a></span><span lang="EN-US" style="color: #333333; font-family: "Verdana","sans-serif"; mso-ansi-language: EN-US;"><br />
<br />
Angria, to get you started<o:p></o:p></span></div>
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<span lang="EN-US" style="color: #333333; font-family: "Verdana","sans-serif"; mso-ansi-language: EN-US;"><br />
I have just finished watching and analyzing Jane Eyre, with Toby Stephens as
Mr. Rochester. There are god knows how many versions of Jane Eyre, and each one
as a reading has its merits. But it seems to me that this version stays close
to the book and does not omit pieces of the novel, most people and filmmakers
do not understand. I was surprised how the conversations of the houseguests
were used to convey the subsequent contemporary reviews of Jane Eyre. <br />
<br />
Brontë was accused of writing an ‘unchristian’ novel. This is hard to
understand for us today as we are usually not aware of the prevailing social
strife Brontë was witnessing, and couragely choosing side in. She wrote in
1847, the novel seems to be set in 1840. In 1848 Europe had its ‘last’ social and
political revolutions after the French Revolution, and serfs were given equal
rights. The trade in human skins of the serfs ended. The elite considered the
equalizer structure of society as decided by god, and criticizing the elite was
akin as murmuring against god. <br />
<br />
From my own research I understand that Europe was a caste society, much like
India today, and the non-nobles liberated themselves from this evil system. The
complication was color, the nobles, kings and elites were described and
self-identified as brown and black of complexion. In this book many persons are
described as brown and black of complexion. Mrs. Reed, the evil aunt, is very
dark skinned, as is her son who scorns her for her blackness, and she is
described by Brontë as having classical African facial traits too. She goes
about this in quite a scientific way. Also when she describes St. John as the
quintessential white man, a Caucasian, Brontë evokes the Apollo Belvedere to
describe his looks.<br />
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The movie has Mr. Rochester shown with some light brown goo on the face, but in
the book he is quite dark, with black manes. He is not shown disguised as a
fortune telling very dark gypsy woman, as audiences would find it hard to
believe that his guests or Jane Eyre would not recognize him. But in this movie
version he employs a white gypsy woman. Alas, his murderous, crazy wife and her
brother are played by dark but white Spanish types, and not Caribbean people of
color, that we find in the book. The brother has the same brown goo on the
face. There is no Black person in the movie; how is such a thing possible. This
means Blacks are kept out.<br />
<br />
The analyses is hard, it’s as if Charlotte Brontë is asking forgiveness from
whites, as how they were mistreated by Blacks, the elite, the brown skinned masters
(1100-1848). Jane Eyre is white, is mistreated by her Black relatives, in some
way also by Mr. Rochester, for which he gets punished. But she cannot stay with
her own white kind, after tasting the passion of the brown and black people.
Brontë shows communist leanings as Jane Eyre divides her fortune in four equal
parts to share with her new found cousins. But the newly enriched Jane Eyre
shows great forgiveness and marries a Mr. Rochester who is cut to size.<br />
<br />
Both Brontë and Jane Austen are writing about the transition (1789-1848), and
while Austen is unabashedly for Black Supremacy and status quo, Brontë is more
accepting of a change, for equality and justice. </span><span style="color: #333333; font-family: "Verdana","sans-serif";">Both are </span><span lang="EN-US" style="color: #333333; font-family: "Verdana","sans-serif"; mso-ansi-language: EN-US;">fierce</span><span style="color: #333333; font-family: "Verdana","sans-serif";"> feminist.</span><span lang="EN-US" style="color: #333333; font-family: "Verdana","sans-serif"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<br />
<table border="0" cellpadding="0" cellspacing="0" class="MsoNormalTable" style="mso-cellspacing: 0cm; mso-padding-alt: 4.5pt 4.5pt 4.5pt 4.5pt; mso-yfti-tbllook: 1184; width: 100%px;">
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<td style="background-color: transparent; border: rgb(0, 0, 0); padding: 4.5pt;"><div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt;">
<i><span lang="EN-US" style="color: #333333; font-family: "Verdana","sans-serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">“Really? I had
no idea. I want to see the reaction to this casting and movie. </span></i><i><span style="color: #333333; font-family: "Verdana","sans-serif"; font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">Heathcliff and Cathy were crazy as hell.”<o:p></o:p></span></i></div>
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<span lang="EN-US" style="color: #333333; font-family: "Verdana","sans-serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">And they had
interracial sex too.<br />
WH is about the changing times in Europe, and should be approached as an
allegory. The Moors I deal with are those little Blacks on European portraits symbolizing
Blue Blood. Othello as a Moor symbolizes something, the nobility, as does
Heathcliff. Nelly in WH goes into a speech about where he might come from, and
gypsy might be one possibility, but gypsies have and had many complexions.
There are also gypsies in Emma by Jane Austen, and they have a symbolic role in
this highly allegorical story.<o:p></o:p></span></div>
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<span lang="EN-US" style="color: #333333; font-family: "Verdana","sans-serif"; mso-ansi-language: EN-US;"><o:p><span style="font-family: Times New Roman;"> </span></o:p></span></div>
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<span lang="EN-US" style="color: #333333; font-family: "Verdana","sans-serif"; mso-ansi-language: EN-US;">Just saw yet another version of Jane
Eyre with Timothy Dalton as Mr. Rochester. Too handsome, compared to the Mr.
Rochester as described by Miss Brontë, but what the heck. If the actors are
ugly, like Charlotte Gainsborough, its hell to watch them for 1,5 hours. What
works in a novel, does not always translate well to a movie. Timothy Dalton is
dark, tall and very handsome. He has long legs and this tilt in his hips,
making his buttocks stand out, and you do not get that flatness of ass most of
us do not like to see. They gave him some light brown face goo, yet he is too
white compared to the book of a brown complexioned noble man. Blanche Ingram is
played by a white skinned actress while she is supposed to be dark brown as
well. Rochester’s mad, Black wife and her deceitful brother are still too white
in looks to do justice to the book.<br />
<br />
It's details like these which shows that they have revised history, hiding the
fact that the Ancien Regime was Black, and Black identified. White Europeans
were dominated by brown and black complexioned nobles and other elites till
1848. So when it pops up in a work of literature like Mr. Rochester, Mr. Elton
or Othello, they get confused and substitute the roll for a white actor.<o:p></o:p></span></div>
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<a href="http://www.blogger.com/null" name="post10649126"><span style="color: #333333; font-family: "Verdana","sans-serif"; mso-fareast-language: NL; mso-no-proof: yes;"><!-- icon and title --><v:shapetype coordsize="21600,21600" filled="f" id="_x0000_t75" o:preferrelative="t" o:spt="75" path="m@4@5l@4@11@9@11@9@5xe" stroked="f">
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</v:imagedata></v:shape></span></a><span class="posttitle"><span lang="EN-US" style="color: #333333; font-family: "Verdana","sans-serif"; mso-ansi-language: EN-US;">Re: Angria, Africa, Heathcliff and the
Brontës<!-- google_ad_section_end --></span></span><span lang="EN-US" style="color: #333333; font-family: "Verdana","sans-serif"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
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<br />
[In her latest incarnation Jane Eyre is correctly played by a white actress,
but much too pretty. Brontë wrote both Edward Rochester and his 'childbride'
Jane Eyre as quite ugly or plain]<br />
<br />
<br />
Is there a good definition of white, who or what is white?<br />
<br />
I have read Jane Eyre (1847), a visionary novel by Charlotte Brontë, a dark
skinned woman, who uses 'scientific' imagery to describe her black, brown and
white personages.<br />
<br />
Off course I'm talking here to people who do not read Jane Austen or
Charlotte Brontë, but I wish they did, because these ladies were Blacks and
they wrote from the perspective of Blacks about the change in views about
Black and white. Jane Eyre is a white person, in love with a Black European
noble. Brontë is discussing the big change after 1848 in 'race relations' and
asks whites for forgiveness.<br style="mso-special-character: line-break;" />
<br style="mso-special-character: line-break;" />
<o:p></o:p></span></div>
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<span style="color: #333333; font-family: "Verdana","sans-serif"; mso-fareast-language: NL; mso-no-proof: yes;"><!-- icon and title --><v:shape alt="Beschrijving: Old" id="Afbeelding_x0020_10" o:spid="_x0000_i1031" style="height: 8.25pt; mso-wrap-style: square; visibility: visible; width: 8.25pt;" type="#_x0000_t75">
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<br />
[In her latest incarnation Jane Eyre is correctly played by a white actress,
but much too pretty. Brontë wrote both Edward Rochester and his 'childbride'
Jane Eyre as quite ugly or plain]<br />
<br />
<br />
Is there a good definition of white, who or what is white?<br />
<br />
I have read Jane Eyre (1847), a visionary novel by Charlotte Brontë, a dark
skinned woman, who uses 'scientific' imagery to describe her black, brown and
white personages.<br />
<br />
Off course I'm talking here to people who do not read Jane Austen or
Charlotte Brontë, but I wish they did, because these ladies were Blacks and
they wrote from the perspective of Blacks about the change in views about
Black and white. Jane Eyre is a white person, in love with a Black European
noble. Brontë is discussing the big change after 1848 in 'race relations' and
asks whites for forgiveness.<br style="mso-special-character: line-break;" />
<br style="mso-special-character: line-break;" />
<o:p></o:p></span></div>
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" o:spid="_x0000_s1028" stroked="f" style="height: 24pt; mso-left-percent: -10001; mso-position-horizontal-relative: char; mso-position-horizontal: absolute; mso-position-vertical-relative: line; mso-position-vertical: absolute; mso-top-percent: -10001; mso-wrap-style: square; v-text-anchor: top; visibility: visible; width: 24pt;" target=""_blank"" title=""Click to View Search Results for http://www.google.nl/search?hl=nl&q=michael+fassbender&bav=on.2,or.r_gc.r_pw.,cf.osb&biw=948&bih=602&um=1&ie=UTF-8&tbm=isch&source=og&sa=N&tab=wi#um=1&hl=nl&tbm=isch&sa=1&q=michael +fassbender+jane+eyre&pbx=1&oq=michael+fassbender+jane+eyre&aq=f&aqi=g1&aql=1&gs_sm=e&gs_upl=10911l12906l0l13280l10l10l0l8l8l0l179l343l0.2l2l0&bav=on.2,or.r_gc.r_pw.,cf.osb&fp=b698 f881698a4a0b&biw=948&bih=638"">
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</w:anchorlock></w:wrap></o:lock></v:fill></v:rect></span><span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="color: #1d558f;">http://www.google.nl/search?hl=nl&q=michael+fassbender&bav=on.2,or.r_gc.r_pw.,cf.osb&biw=948&bih=602&um=1&ie=UTF-8&tbm=isch&source=og&sa=N&tab=wi#um=1&hl=nl&tbm=isch&sa=1&q=michael
+fassbender+jane+eyre&pbx=1&oq=michael+fassbender+jane+eyre&aq=f&aqi=g1&aql=1&gs_sm=e&gs_upl=10911l12906l0l13280l10l10l0l8l8l0l179l343l0.2l2l0&bav=on.2,or.r_gc.r_pw.,cf.osb&fp=b698
f881698a4a0b&biw=948&bih=638</span></span></a></span><span lang="EN-US" style="color: #333333; font-family: "Verdana","sans-serif"; mso-ansi-language: EN-US; mso-fareast-language: NL; mso-no-proof: yes;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="color: #333333; font-family: "Verdana","sans-serif"; mso-ansi-language: EN-US; mso-fareast-language: NL; mso-no-proof: yes;"><br />
</span><span lang="EN-US" style="color: #333333; font-family: "Verdana","sans-serif"; mso-ansi-language: EN-US; mso-fareast-language: NL; mso-no-proof: yes;"><br />
The latest Mr. Rochester is too handsome, and white, which is wrong: he was
Brown, with huge black eyes and black raven hair.<br />
<br />
</span><span lang="EN-US" style="color: #333333; font-family: "Verdana","sans-serif"; mso-ansi-language: EN-US; mso-fareast-language: NL; mso-no-proof: yes;"><br />
<br />
Jamie Bell is Mr. St. John Rivers. The epitome of whiteness, a perfect
example of the white race, in Jane Eyre. Yet this actor has protruding ears,
and is not blond in real life. Brontë again is quite historical and
scientific in her description of his whiteness, his head shape; ‘like a Greek
statue.’ Still she alludes to the fact that British whites do not look like
this in general, stating how artificial and fake the ‘Greek’ based definition
of whites is.<o:p></o:p></span></div>
</td>
</tr>
</tbody></table>
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<div class="MsoNormal" style="margin: 0cm 0cm 12pt;">
<span lang="EN-US" style="color: #333333; font-family: "Verdana","sans-serif"; mso-ansi-language: EN-US;">St
John resemblance to the Apollo of Belvedere is mentioned at least twice in Jane
Eyre. When these people defined the white race, to give whites human
status,(1760) they measured not real people's heads, but Greek statues!<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="color: #333333; font-family: "Verdana","sans-serif";"><a href="http://www.google.nl/search?um=1&hl=nl&q=jamie%20bell%20jane%20eyre&gs_sm=e&gs_upl=8278l9913l0l10231l10l9l0l1l0l0l142l619l6.2l8l0&bav=on.2,or.r_gc.r_pw.,cf.osb&biw=948&bih=638&ie=UTF-8&sa=N&tab=iw" sl-processed="1" target="_blank" title="http://www.google.nl/search?um=1&hl=nl&q=jamie%20bell%20jane%20eyre&gs_sm=e&gs_upl=8278l9913l0l10231l10l9l0l1l0l0l142l619l6.2l8l0&bav=on.2,or.r_gc.r_pw.,cf.osb&biw=948&bih=638&ie=U TF-8&sa=N&tab=iw"><span lang="FR" style="mso-ansi-language: FR;"><span style="color: #1d558f;">http://www.google.nl/search?um=1&hl=nl&q=jamie%20bell%20jane%20eyre&gs_sm=e&gs_upl=8278l9913l0l10231l10l9l0l1l0l0l142l619l6.2l8l0&bav=on.2,or.r_gc.r_pw.,cf.osb&biw=948&bih=638&ie=U
TF-8&sa=N&tab=iw</span></span></a></span><span lang="FR" style="color: #333333; font-family: "Verdana","sans-serif"; mso-ansi-language: FR;"><o:p></o:p></span></div>
<br />
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<span style="color: #333333; display: none; font-family: "Verdana","sans-serif"; mso-hide: all;"><a href="http://www.google.nl/search?um=1&hl=nl&q=jamie%20bell%20jane%20eyre&gs_sm=e&gs_upl=8278l9913l0l10231l10l9l0l1l0l0l142l619l6.2l8l0&bav=on.2,or.r_gc.r_pw.,cf.osb&biw=948&bih=638&ie=UTF-8&sa=N&tab=iw" sl-processed="1" target="_blank" title="Click to View Search Results for http://www.google.nl/search?um=1&hl=nl&q=jamie%20bell%20jane%20eyre&gs_sm=e&gs_upl=8278l9913l0l10231l10l9l0l1l0l0l142l619l6.2l8l0&bav=on.2,or.r_gc.r_pw.,cf.osb&biw=948&bih=638&ie=U TF-8&sa=N&tab=iw"><span style="text-transform: capitalize;"><span style="color: windowtext; font-family: "Calibri","sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-latin; mso-hide: none;"><v:rect alt="Beschrijving: Click to View Search Results for http://www.google.nl/search?um=1&hl=nl&q=jamie%20bell%20jane%20eyre&gs_sm=e&gs_upl=8278l9913l0l10231l10l9l0l1l0l0l142l619l6.2l8l0&bav=on.2,or.r_gc.r_pw.,cf.osb&biw=948&bih=638&ie=U TF-8&sa=N&tab=iw" filled="f" href="http://www.google.nl/search?um=1&hl=nl&q=jamie%20bell%20jane%20eyre&gs_sm=e&gs_upl=8278l9913l0l10231l10l9l0l1l0l0l142l619l6.2l8l0&bav=on.2,or.r_gc.r_pw.,cf.osb&biw=948&bih=638&ie=UTF-8&sa=N&tab=iw" id="Rechthoek_x0020_12" o:button="t" o:gfxdata="UEsDBBQABgAIAAAAIQC75UiUBQEAAB4CAAATAAAAW0NvbnRlbnRfVHlwZXNdLnhtbKSRvU7DMBSF
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</w:anchorlock></w:wrap></o:lock></v:fill></v:rect></span><span lang="FR" style="mso-ansi-language: FR;"><span style="color: #1d558f;">http://www.google.nl/search?um=1&hl=nl&q=jamie%20bell%20jane%20eyre&gs_sm=e&gs_upl=8278l9913l0l10231l10l9l0l1l0l0l142l619l6.2l8l0&bav=on.2,or.r_gc.r_pw.,cf.osb&biw=948&bih=638&ie=U
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<span lang="EN-US" style="color: #333333; font-family: "Verdana","sans-serif"; mso-ansi-language: EN-US;"><br />
ally Hawkins as Mrs Reed. Brontë describes her as very dark of complexion,
with a strongly built underjaw, meaning subnasal prognathism, meaning Mrs. Reed
had classical African facial traits as well as very dark skin. She is like the
image of the Moor, and symbolises the blackness and noble superiority of this
family, which tortures white Jane Eyre.<o:p></o:p></span><br />
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Egmond Codfriedhttp://www.blogger.com/profile/10597005835134961469noreply@blogger.com0tag:blogger.com,1999:blog-1401624891557825179.post-48855496620850505732013-08-07T02:39:00.002-07:002013-08-27T03:57:32.695-07:00<h2>
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<h2 class="MsoNormal" style="margin: 0cm 0cm 10pt;">
THE ETERNAL ENIGMA: WHERE DO WHITE PEOPLE COME FROM?</h2>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJcvGeZ0RkWgsPpAhUd-uhKmeOp2B964EPitC51QqCbonoSYsXUvETMDDJXeizck3ckwGbjK5cFJOMpKZB7j0VaflaWNzl4cFhiMRIZ3S-gZPyr1pNcJy0OVaJ-SENDXWkRT5RKsMtAqG9/s1600/a.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJcvGeZ0RkWgsPpAhUd-uhKmeOp2B964EPitC51QqCbonoSYsXUvETMDDJXeizck3ckwGbjK5cFJOMpKZB7j0VaflaWNzl4cFhiMRIZ3S-gZPyr1pNcJy0OVaJ-SENDXWkRT5RKsMtAqG9/s320/a.jpg" width="212" /></a></div>
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Albino models, they are talented, healthy people who just need extra protection from the sun.</div>
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Albino's intermarry, and albinism is highly hereditary.</div>
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Albino's often marry other albino's, making more albino's.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkO7DNwYzpkLIQaBHJjcxZBxnC0HTPJ2dbREEDXNMQcYAZLqYYAHsZUGhq-yHOETTo70LxNznXhXGRzpa791Wnhb_JA_RC0-Gz_rA_bT48CTtKaMa9xulYw0fyCZpqMDG4HBNjHXQmX1D2/s1600/albino1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkO7DNwYzpkLIQaBHJjcxZBxnC0HTPJ2dbREEDXNMQcYAZLqYYAHsZUGhq-yHOETTo70LxNznXhXGRzpa791Wnhb_JA_RC0-Gz_rA_bT48CTtKaMa9xulYw0fyCZpqMDG4HBNjHXQmX1D2/s1600/albino1.jpg" /></a></div>
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Salif Keita</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsPLsGEfmDPbN47BdLdQMMabtIiXGQQncCu9lcFnmgX8SWw4x6LJNaz185LibQH6FaXXexHLG-c3m_ivjR9IICKgGK-saa9Uprf1MxXEFEfc2yMUBi_o4pk__1U4xr6yUF7i66IIq1YDlV/s1600/aSalifKeita_jpg_4be83bb4337f2-artistImage.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsPLsGEfmDPbN47BdLdQMMabtIiXGQQncCu9lcFnmgX8SWw4x6LJNaz185LibQH6FaXXexHLG-c3m_ivjR9IICKgGK-saa9Uprf1MxXEFEfc2yMUBi_o4pk__1U4xr6yUF7i66IIq1YDlV/s1600/aSalifKeita_jpg_4be83bb4337f2-artistImage.jpg" /></a></div>
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Salif Keita is a world renown artist and an albino.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgi-hF1kyEe_zwTzvhF7FKmZHzwHYY0bo7930sZbpatN8QIhFX6wA6D7XChE_tVs38LpGQs4KKQ9hSauiKYaFvZvTwRTVmvcRJSVKyGpC1IKl_imja_ct87yj5fJ6VpTYtCUUzaCydNcimH/s1600/aSet_world_albinos.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="139" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgi-hF1kyEe_zwTzvhF7FKmZHzwHYY0bo7930sZbpatN8QIhFX6wA6D7XChE_tVs38LpGQs4KKQ9hSauiKYaFvZvTwRTVmvcRJSVKyGpC1IKl_imja_ct87yj5fJ6VpTYtCUUzaCydNcimH/s320/aSet_world_albinos.jpg" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpjEPkDoqITAVYkSIe_Ohy7xGE9ZLFcEHwc-157fZezbOqB32xPI_Z-pOgFUzo0P5RF3zaQ5d7piAbjcPdhpUKO8r3jdhm0o8OqgLtswMSNSINMmcaWcE4WQNmIerJvJhdez-8G2S0SzxF/s1600/atumblr_ldxb8xCCTq1qawv1wo1_500.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpjEPkDoqITAVYkSIe_Ohy7xGE9ZLFcEHwc-157fZezbOqB32xPI_Z-pOgFUzo0P5RF3zaQ5d7piAbjcPdhpUKO8r3jdhm0o8OqgLtswMSNSINMmcaWcE4WQNmIerJvJhdez-8G2S0SzxF/s320/atumblr_ldxb8xCCTq1qawv1wo1_500.jpg" width="213" /></a></div>
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There is really nothing wrong with albino's, and I do not mean to insult when I speculate they resemble whites, and whites might be a fixed albino nation, a fool proof white nation. Because albino's left Africa and intermarried in georgraphical isolation. This is how white flower seed is produced, by constant interbreeding with white flowers. This is how white horses, birds, fishes, tigers, cats: etc. are cultivated. So why should it be so different for Humans? Is it because whites want to think of themselves as superior over Blacks, while this shows them coming out of Blacks, as Blacks came first? I'm unustly labeled as racist for this deduction that I consider scientific.</div>
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This image launched a lot of hostile comments, as it shows a black man on a throne wearing white shoes. There is a source which says: 'The King of France was, on the eve of the French Revolution; presented with a pair of slippers made of human skin.' This is how I dramatised my discovery that there was a trade in human leather till 1848, and I think it was the skins of whites, who were serfs and hardly seen as humans. If we understand the portee of the historical Declaration of Human Rights is rightly understood. I understand from some sources that human races were invented to give these poor whites human status. The idea to give these slippers on the eve of the Revolution, makes to me a connection between the low status of whites and the need for these revolutions. The whites were finally emnacipaten in 1848. Never did I say I agree with those prevailing ideas to perceive whites as shoe leather to the elite, I think the whites were right to fight their oppressors. But I feel this all happened 165 years ago, it was settled: so do we need to go on with the fake, whitened portraits of the brown and black colored European elite (1100-1848)?<br />
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Louis XVI did not enjoy his slippers made of human skin for very long, </div>
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as he was shorty after that beheaded. The whites were given equality in name only, but the bourgeosie stole the revolution and whites had to face restorations of royal rule, till 1848.</div>
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Another showbizz albino, next to the type considered white.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9IoEBndE7IJJdWPGpOF6oiMliBzIrVrzhjpZfC-crJQn_wqIkkNKXoY6Ti23LUGzz1EoDF_GMQ3dROAPU_IsQOUkh-Af0ydTBwzJIRJ1IXcvHGJOWojdCqOYOwTTFb35ieGE7rX1vAa9u/s1600/bwhigger.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9IoEBndE7IJJdWPGpOF6oiMliBzIrVrzhjpZfC-crJQn_wqIkkNKXoY6Ti23LUGzz1EoDF_GMQ3dROAPU_IsQOUkh-Af0ydTBwzJIRJ1IXcvHGJOWojdCqOYOwTTFb35ieGE7rX1vAa9u/s320/bwhigger.jpg" width="320" /></a></div>
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An artist</div>
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Snowflake the albino Gorilla. My Ugandian friend tells me there are many more albino gorilla's. </div>
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Why do we never get to see them? Like with human albino's we need to see more of them, just to get used to their looks. There is nothing wrong with them. I notice Rogers did not try to speculate about albino's as the source for whiteness, but dutifully repeated the myhts whites tell themselves. I assume he would not only have been ridiculed, but lynches as well. How can somebody look at albino's, talk soberly about some light skinned Blacks who became whites, and tell me they do not remind him of whites. If the wblack gorilla reminds some of some Blacks, why can't Snowflake remind us of some whites too? His sweet smile is alsmost human.</div>
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<span lang="EN-US" style="color: black; font-family: "Helvetica","sans-serif"; font-size: 9pt; line-height: 115%; mso-ansi-language: EN-US;">Subject:
<strong><span class="important1">The eternal enigma: where do white people come from?</span></strong>
The eternal enigma: where do white people come from?<br />
June 21st, 2013, 6:13 am<br />
<br />
The eternal enigma: where do white people come from?<br />
<br />
Elsewhere I state that Jane Austen attempts to address this riddle by
introducing a white Miss Harriet Smith from unknown origins. As I read parts of
Emma (1816) by Austen as non-fiction, I give this JASNA text as a starter,
telling you that Emma is very black of complexion, as is Mr. Elton, ‘black,
spruce and smiling,’ Mr. Knightley and Mr. Churchill. But for my research blue
blood is black blood (1100-1848) I needed to know where whites came from. How
did whites evolved out of brown and black complexioned Africans? Most agree
that the first humans were Africans, and peopled the world out of East-Africa.
When I venture whites look a lot like Albino’s, and they also burn in the sun
like Albino’s, some people immediately assume I’m out to insult, as some people
believe that an Albino is a sick person. Then I point to some world famous
Albino’s who perform at the highest level proofing albinism is not a disease as
such. They only need to take care when they venture out in the sun, much like
many of us need to take care of what we eat (no milk, no sugar, no gluten, no proteins)
but still can function. Next all white live forms come from Albinism; horses,
birds, Khoi carpers, flowers: why should it be different for the human animal? <br />
<br />
So now can we settle this for once and for all, and kindly offer some sound
scientific research, and no hear say or, god forbids, believes. <br />
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<br />
</span><span style="color: black; font-family: "Helvetica","sans-serif"; font-size: 9pt; line-height: 115%;"><a href="http://www.jasna.org/persuasions/on-lin%20...%20morris.htm"><span style="color: #1d558f;">http://www.jasna.org/persuasions/on-lin
... morris.htm</span></a><o:p></o:p></span></div>
<span lang="EN-US" style="color: black; font-family: "Helvetica","sans-serif"; font-size: 9pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;"><br />
The eternal enigma: where do white people come from?<br />
<br />
Elsewhere I state that Jane Austen attempts to address this riddle by
introducing a white Miss Harriet Smith from unknown origins. As I read parts of
Emma (1816) by Austen as non-fiction, I give this JASNA text as a starter,
telling you that Emma is very black of complexion, as is Mr. Elton, ‘black,
spruce and smiling,’ Mr. Knightley and Mr. Churchill. But for my research blue
blood is black blood (1100-1848) I needed to know where whites came from. How
did whites evolved out of brown and black complexioned Africans? Most agree
that the first humans were Africans, and peopled the world out of East-Africa.
When I venture whites look a lot like Albino’s, and they also burn in the sun
like Albino’s, some people immediately assume I’m out to insult, as some people
believe that an Albino is a sick person. Then I point to some world famous
Albino’s who perform at the highest level proofing albinism is not a disease as
such. They only need to take care when they venture out in the sun, much like
many of us need to take care of what we eat (no milk, no sugar, no gluten, no
proteins) but still can function. Next all white live forms come from Albinism;
horses, birds, Khoi carpers, flowers: why should it be different for the human
animal? <br />
<br />
So now can we settle this for once and for all, and kindly offer some sound
scientific research, and no hear say or, god forbids, believes. <br />
</span><span style="color: black; font-family: "Helvetica","sans-serif"; font-size: 9pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;"><a href="http://www.jasna.org/persuasions/on-lin" target="_blank"><span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="color: #1d558f;">http://www.jasna.org/persuasions/on-lin</span></span></a></span><span lang="EN-US" style="color: black; font-family: "Helvetica","sans-serif"; font-size: 9pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;"> ... morris.htm<br />
Re:<br />
Nobody looked in on Jane Austen's attempt to understand whites, although she
believed Black nobles to be superior over normal Blacks and whites. Off course
my research blue blood is black blood (1100-1848) does not register, while I
believe in 2015, the whole world will know about the fake, over paints making
brown people look white in our museums. Such a blatant thing cannot be or
remain a secret. All of history is about Blacks, painting them white does not
make them white. So imagine going into any museum in the world and looking at
Black faces, and very few white faces in sight. So somehow, because of history,
the ability to understand reason, to think rationally, to synthesize
information based on sources was knocked out of whites. So you speak to them,
give them evidence, and they panic, want to ban you, insult you, and sabotage
you. Austen showed Miss Smith to be less intelligent and somewhat nervous and
emotional, and I wonder if there is something wrong with whites making it
impossible to communicate with them. The ability for humans to be white, to
become white is connected with albinism. To Blacks white resemble albino's,
some more or less so. To insist there is no connection, is might strange, like
yall have some mental defect, not to recognize similar things. But anyway, this
read by many people, and I know one or two will get the information, and move
with this information. Thank you all for answering, and very little insults or
very few slurs to my mental capacities.<br />
<br />
I did not mean to sound unkind, I'm grateful for your answer, but surely you do
not know my timeagenda, or what I like to accomplish in a day, and it's best if
you limit your comments to a statement of mine, then give me a long leisurely
essay, not based om some research, which would merit more time to read. I'm not
an native english speaker, and I said what I wanted to say without any meanness
or so.<o:p></o:p></span><br />
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Any minute, somebody's going to come along and scrape the white over-paint off
me. That's got to hurt!<o:p></o:p></span></div>
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At least the gist of my teachings has not been lost on you. Nobody will hurt
you, but we need to stop this nonsense that all started 165 years ago, while
whites share equal rights with Blacks since then, and nobody going to turn them
into a pair of shoes. The awful Black noble boogey man is gone, will not come
back. But the paintings must be restored to their original brown and black
colour.<o:p></o:p></span></div>
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<span lang="EN-US" style="color: black; font-family: "Helvetica","sans-serif"; font-size: 9pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">Aonghus wrote:Caucasians represent a genetic
adaptation. Albinism is a genetic disorder. There is a corollory however,
inasmuch as both are characterised by sensitivity to sunlight. This is a
necessary survival mechanism in gloomy, dull environments as pale skin can
absorb more sunlight than dark skin - the sunlight is then converted into
vitamin D.<o:p></o:p></span></div>
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Adaptation or disorder? If an albino can function, he ain't sick. If he needs a
sunblock, a hat and sunglasses, only when going out in the sun, he can
function. In my native Suriname, among the Marrons in the jungle: they do not
have to work in the sun, so a person will tend his field for him so he can eat,
and he can provide some service in return indoors. Nature adapts through
albinism. Blacks in a sunless environment still get to go to the beach on a
sunny day, and the rest of the year gorge on fatty fish. If the disorder
fallacy is out of the way we may look at ice-mummies in Central Asia, looking
just like white Europeans, and not like the chinesey folks living there. So Ice
mummies is the word to look up.<o:p></o:p></span></div>
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Why, if living in the same area, do blacks and whites who breed only with their
said race continue to be black or white and neither change because of the
environment?<o:p></o:p></span></div>
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Do you understand my research proofing the elite from 1100-1848 was brown and black
complexioned? Do you need additional proof? At least I trust that the idea of a
brown complexioned Jane Austen (1775-1817) writing about brown and black
complexioned gentry does not sicken you, as it does some of our collegeus here.<br />
The Tarim Mummies - An amazing discovery of 2,000 year old mummies in the Tarim
basin of Western China occurred in the early 90s. But more amazing than the
discovery itself was the astonishing fact that the mummies were blond haired
and long nosed.In 1993, Victor Mayer a college professor collected DNA from the
mummies and his tests verified that the bodies were all of European genetic
stock.Ancient Chinese texts from as early as the first millennium BC do mention
groups of far-east dwelling caucasian people referred to as the Bai, Yeuzhi,
and Tocharians. None, though, fully reveal how or why these people ended up
there.<br />
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</span><span style="color: black; font-family: "Helvetica","sans-serif"; font-size: 9pt; line-height: 115%; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;"><a href="http://3.bp.blogspot.com/_TahXQ2WiF0s/S" target="_blank"><span style="color: #1d558f;">http://3.bp.blogspot.com/_TahXQ2WiF0s/S</span></a>
... ummies.jpg<br />
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... </span><span lang="EN-US" style="color: black; font-family: "Helvetica","sans-serif"; font-size: 9pt; line-height: 115%; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">0-593A.jpg<br />
I have gained much knowledge by looking a Snowflake the Gorilla, and reading
his biography in Google. There are still other albino Gorilla's among the
Gorilla's in Africa, yet we never get to see them on the web. As if some people
do not want us to see them and thus understand that whites derive from
Albinism.</span><br />
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Black children with blond hair. Of interest when an European historical person was described as blond, he/she could still be Black. According to David Mac Ritchie the ancient Europeans resembled the Australians. Among the Roma peoples there are some with black skin and blond hair.</div>
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Even the blue eyes are not limited to whites, but came out of Blacks.</div>
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The blondness came to the albino's.</div>
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So called Ice-mummies, evidence that whites originated in Central Asia.</div>
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The so-called beauty of Laulan is a blond woman.</div>
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Another Ice-mummie showing an white, fair haired European type.</div>
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The whites came to Europe from 6000 years ago, but mainly in 400 AD.</div>
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They were considered Barbarians by the brown and black complexioned Greeks, and Romans.</div>
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Later they were the serfs and villains who were only liberated in 1848. Then they set ot to whiten the history by over painting all portraits with beige, claiming they had darkened.</div>
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This is how Europe became white.</div>
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<span style="color: black; font-family: "Helvetica","sans-serif"; font-size: 9pt; line-height: 115%; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;"><a href="http://diariodebiologia.com/files/2012/" target="_blank"><span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="color: #1d558f;">http://diariodebiologia.com/files/2012/</span></span></a></span><span lang="EN-US" style="color: black; font-family: "Helvetica","sans-serif"; font-size: 9pt; line-height: 115%; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;"> ... 31x431.jpg<br />
<b>THE CLASSICAL AFRICAN IS JUST A FACE TYPE</b><br />
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During my week in Morocco, three city tour I amused myself for hours looking
for classical African types. Many Moroccans have full lips, brownish skin, a
receding chin and some measure of prognathism and dark curly hair, but you
would not call then classical African or Blacks. The color does not seem to be
the deciding factor. I found that prognathism together with the wider type of
nose to make a person look classical Black. There is a fair skinned, reddish
skinned type I call prognathism on legs, dark skinny men, all seem shy to me as
if they know they are prognathism on skinny legs. But still you would not call
that type Black. Body types is another problem, as people wear clothes. But the
large backside among women is really Black. And there is a lot of that, god
have mercy. In general they have good fleshy behinds. But there are some women,
who have nothing classical African in the face, yet have these lively behinds
who move separately from their body. They jiggle in a most alluring way under
the silky djellaba. This I have never observed with whites, no matter have full
bottomed. So you cannot call Moroccans who are all Berbers: if you ask me, a
very mixed nation, whites or Blacks. They also do not resemble true mulattoes,
except a handful, who might be a descendant of the two opposite types, one very
Black, and one very white parent. Most cannot be defined. And next I find there
should be something more than just looks to define a person as Black. Also by
having a similar Black partner, having braids or somehow expressing some
interest in Blackness. All the billboards and magazine covers show white
beauty, and I don’t know if these things are discussed in Morocco. But as they
are all so mixed, it would be silly to discriminate, as there will be darker or
Black people among your own family. I saw very few true blonds, but they would
seldom be mistaken for white Europeans. And I notice some light skinned girls
and women using very light make up to appear lighter, and some blonding of
their hair. But as a whole they are a very good-looking nation, healthy,
expressive, and I tend to use some of their gestures when they speak. There is
one dramatic one which looks to me as if they are having a serious business
conversation and one is saying: ‘do not blame me' or 'do not sue me afterwards,
I do not take responsibility.’ Which is my fantasy off course. They also like
to slap hands if you make a slight joke or word play. My research of Jane
Austen thought me the Black type was perceived as ‘pure of blood,’ and
‘distinguished’ in looks, and it was used in heraldry as a symbol of blue
blood: high nobility. The people of Morocco resemble the types I find on
European old master portraits. Also the mix of types, but I guess in Europe the
darker skin prevailed, or was cultivated by marrying a darker person. They were
the first Europeans who saw whites as just recent immigrants in Europe.<br />
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</span><span style="color: black; font-family: "Helvetica","sans-serif"; font-size: 9pt; line-height: 115%; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;"><a href="http://upload.wikimedia.org/wikipedia/c" target="_blank"><span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="color: #1d558f;">http://upload.wikimedia.org/wikipedia/c</span></span></a></span><span lang="EN-US" style="color: black; font-family: "Helvetica","sans-serif"; font-size: 9pt; line-height: 115%; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;"> ... di_Man.jpg<br />
<br />
The Grimaldi Man arrived 45.000 years ago in Europe and the skeleton shows a
classical African body/head type.<br />
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</span><span style="color: black; font-family: "Helvetica","sans-serif"; font-size: 9pt; line-height: 115%; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;"><a href="http://upload.wikimedia.org/wikipedia/c" target="_blank"><span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="color: #1d558f;">http://upload.wikimedia.org/wikipedia/c</span></span></a></span><span lang="EN-US" style="color: black; font-family: "Helvetica","sans-serif"; font-size: 9pt; line-height: 115%; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;"> ... di_Man.jpg<br />
The Grimaldi Man arrived 45.000 years ago in Europe and the skeleton shows a
classical African body/head type.<br />
Post Number:#33 July 1st, 2013, 5:45 am<br />
DarwinX wrote:Cold weather forces people to think ahead. If you live in the
tropics you don't have to think ahead because nature provides everything you
need on a daily basis. In cold climates, nature doesn't provide much during the
winter period, so only people who think ahead, will survive the winters cold
and scarcity of food. This is why white people developed technology before the
people in the tropics.<br />
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<br />
It only seems like that because all the inventors and writers and scientists
have been painted beige after 1848. In biographies they are identified as brown
and black of complexion. How can I debate the matter if you people keep
yourself deaf and blind for my arguments. I would not be saying these things if
I did not have any sources, while you come after me with speculations and
reader digest wisdom.<o:p></o:p></span></div>
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<span lang="EN-US" style="color: black; font-family: "Helvetica","sans-serif"; font-size: 9pt; line-height: 115%; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;"><o:p> </o:p></span><span style="color: black; font-family: "Helvetica","sans-serif"; font-size: 9pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;"><a href="http://www.jasna.org/persuasions/on-line/vol26no1/morris.htm" target="_blank"><span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="color: #1d558f;">http://www.jasna.org/persuasions/on-line/vol26no1/morris.htm</span></span></a></span><span lang="EN-US" style="color: black; font-family: "Helvetica","sans-serif"; font-size: 9pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;"><o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 2.25pt;">
<span lang="EN-US" style="color: black; font-family: "Helvetica","sans-serif"; font-size: 9pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">The Enigma of Harriet Smith<br />
<br />
“OUR PUZZLEMENT OVER HARRIET SMITH begins at the first mention of her. She is
introduced as “the natural daughter of somebody,” who years before had placed
her at Mrs. Goddard’s school, where her situation is now that of
parlour-boarder. And the action of one of the world’s great novels is to turn
round the girl pursuing this humble existence: upon her capacity to engage the
affections successively of an Elton, a Churchill, a Knightley. The story’s
credibility and effectiveness, no less, depends on its sustaining the reader’s
impression that she has qualities which can or will overcome her social
deficiency. It takes the shock of Harriet’s potential power over Mr. Knightley
to awaken Emma to her love for him – and the reality of the distress thus
aroused to halt in memorable fashion his proposing to her, in terror lest he
should be at the point of confessing an attachment to her protégée. Throughout
the novel runs an insistent questioning, whether explicit or unspoken: is
Harriet a commendable young woman, a lady in the making – or is she not?”<o:p></o:p></span></div>
<span lang="EN-US" style="color: black; font-family: "Helvetica","sans-serif"; font-size: 9pt; line-height: 115%; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;"><br />
The link with this source was broken. Reestablish by filling the text back into
Google as the article is still there<o:p></o:p></span><br />
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="color: black; font-family: "Helvetica","sans-serif"; font-size: 9pt; line-height: 115%;"><a href="http://forums.philosophyforums.com/search.php?filled=1&condition=%3D&whichtype=links&searchfields%5b0%5d=ownerid&search=23234&page=1" target="_blank"><span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="color: #1d558f;">http://forums.philosophyforums.com...wnerid&search=23234&page=1</span></span></a></span><span lang="EN-US" style="color: black; font-family: "Helvetica","sans-serif"; font-size: 9pt; line-height: 115%; mso-ansi-language: EN-US;"><br />
<br />
Unless there is some scandalous falsehood played on us, Legion has been here
since 2008 and was demoted in 2012, after four years of cranking out some
fairly good threads. I do not have the time right now to go and read all he
offered, but one thread of his about phenotype and genotype sounded sensible.
In regard to my blue blood research I found blackness to be spoken of like it’s
a serious affliction, some families having a 'strain' of that disease in their
bloodline. People not understanding that whites and black can mate freely and
have half white half black off spring who are just people, not some mongrel
freaks showing deviant behavior. Next I notice some people thinking Blackness
in a person’s DNA also leads to certain behaviors, and tells about their morals
and academical merits. Even in 2013 with a Black man in the White house or Kofi
Annan heading the UN, people have these strange ideas about Blacks and
blackness. In The Hague, the royal capital of The Netherlands many provincial
hicks come to visit and gawk, but they also show interest in my person to the
point of rudeness, as if I came out of space, and they never saw a
well-dressed, sophisticated, well spoken, out spoken Black person in real life
before. I gather my forbearance and fortitude about me and fearlessly move on.
In daily life we deal mostly with phenotype, because this is what we can see,
observe, and study. I'm still not convinced by DNA evidence of anything,
science has been corrupted after 1848 to show whites as superior beings, while
they came out of Blacks. I really do not see how we can alter DNA, no matter
how many times it happens in Star Trek. I wish we would not talk about DNA as
something we can manage, influence, change or god forbids, make ourselves. I
usually tune out when they are talking about DNA. I find the Mendel stuff about
sweet peas enlightened enough for normal, everyday life. I'm also not
interested in science about living on other planets, a waste of good money to
contemplate such nonsense. Suriname is four times the size of Holland, they
live just on a small strip of coastal area, they number only 500.000, and the
rest is a vast tropical, paradise like jungle. What I would like to see is
people coming to us to help us built a new capital like Brasilia, in the middle
of this jungle, incorporating all the latest science about city building,
durability, sustainability, recycling, and poverty busting politics.<o:p></o:p></span></div>
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<span style="color: black; font-family: "Helvetica","sans-serif"; font-size: 9pt; line-height: 115%;"><a href="http://www.thearttribune.com/IMG/jpg/Constant_Albinos.jpg" target="_blank"><span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="color: #1d558f;">http://www.thearttribune.com/IMG/jpg/Constant_Albinos.jpg</span></span></a></span></div>
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ALEXANDER THE GREAT BY APELLES: SWARTHY</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizq2JLvu1p29cxKoaRuB_7t88xFNZrg1oLY3ytHhNlz4ctlxOYfMikuu3so4S1aKk2V1DB_OLF2j6RLqHMIq8QXhtniZoTK2xFSWWcRdySuzEUVt6By1M0IMbHs_ZFdSI9WYTEIbwv5nbX/s1600/Constant_Albinos.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizq2JLvu1p29cxKoaRuB_7t88xFNZrg1oLY3ytHhNlz4ctlxOYfMikuu3so4S1aKk2V1DB_OLF2j6RLqHMIq8QXhtniZoTK2xFSWWcRdySuzEUVt6By1M0IMbHs_ZFdSI9WYTEIbwv5nbX/s320/Constant_Albinos.jpg" width="260" /></a></div>
<span style="color: black; font-family: "Helvetica","sans-serif"; font-size: 9pt; line-height: 115%;"></span><span lang="EN-US" style="color: black; font-family: "Helvetica","sans-serif"; font-size: 9pt; line-height: 115%; mso-ansi-language: EN-US;"> </span><br />
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Albino by Benjamin Constant<br />
Is it an over paint or did he make it like that?<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="color: black; font-family: "Helvetica","sans-serif"; font-size: 9pt; line-height: 115%; mso-ansi-language: EN-US;"><o:p> </o:p></span><span lang="EN-US" style="color: black; font-family: "Helvetica","sans-serif"; font-size: 9pt; line-height: 115%; mso-ansi-language: EN-US;">If
satyr could take over, that which is not really my forte,<br />
as it's of little importance.<br />
JA Rogers shows what all these Asian nations often look like, <br />
quite Black, and Chinese are prognastic and thick lipped,<br />
as are many south Asians and Indonesians.<br />
The Pacific islanders are clearly classical African in looks with some
admixture,<br />
while a black skinned person can never be called a white,<br />
as no white will accept him as white.<br />
Ethiopians and Somalis in the US are seen as Blacks, not Caucasian in spite of
narrow lips, <br />
noses and straight hair.<br />
The first humans were East Africans,<br />
The first humans made all the important discoveries and travels and built the
pyramids.<br />
If whites are weaker than its because they cannot stand the sun so well,<br />
the whites that left Africa were albino's as a group that settled in Central
Asia where <br />
there are the ice mummies. We need to incorporate the Ice mummies in the story.<br />
But most importantly is that white is a social construct, invented to free
whites who were shoe leather till 1848.<br />
White skinned people who are not Europeans do not share the organized hatred of
Blacks <br />
as they were not ruled and oppressed till recently, 1848, as white Europeans
were.<br />
Racism against Blacks is a liberation ideology.<br />
So from 1848 history was revised, and all writing about races was to hide the
brown and black domination of Europe in retrospect.<br />
Like the story of 9/11 we all witnessed is told in horrible fake way by the US
government,<br />
this is how we are kept from the true history of Blacks dominating Europe.<br />
My blue blood theory<br />
<br />
Today we have slavery of Polish Catholics in Holland by their fellow white
Dutch.<br />
There is nothing unusual of whites enslaving whites or Blacks enslaving blacks.<br />
It's for profit. Some people would sell their own mother...<br />
Even some former Black slaves would become slave masters.<br />
There were Africans who traveled between Africa and the Americas <br />
to monitor their slave trade. They were never enslaved themselves.<br />
The brown and black European elite enslaved Africans they saw as heathens, <br />
and slavery would teach them Christianity and civilization.<br />
This was stated many times. So simplistic to equate color, looks with behavior.<o:p></o:p></span></div>
<br />
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<span lang="EN-US" style="color: black; font-family: "Helvetica","sans-serif"; font-size: 9pt; line-height: 115%; mso-ansi-language: EN-US;">A lot
of beliefs by whites about their origins are based on very shaky so-called
scientific research.<br />
Most is fantasy after 1848 when whites were finally accepted as humans.<br />
They felt a need to create a history of themselves,<br />
and started to falsify antiquities to make the Egyptian civilization white,<br />
they stripped antiquities from their outer brown or black paint layer <br />
and created new antiquities of white pharaohs with blue eyes.<br />
Today this can all be put within a context,<br />
by the blue blood theory, and that whites have over painted <br />
all portraits of the brown and black European noble and bourgeois elite,<br />
to make them look white. </span><span style="color: black; font-family: "Helvetica","sans-serif"; font-size: 9pt; line-height: 115%;">Shoeleather became civilizers
to the world,<br />
I'll say...</span></div>
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<span style="color: black; font-family: "Helvetica","sans-serif"; font-size: 9pt; line-height: 115%;"><o:p></o:p></span> </div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="color: black; font-family: "Helvetica","sans-serif"; font-size: 9pt; line-height: 115%;"><o:p> </o:p></span></div>
Egmond Codfriedhttp://www.blogger.com/profile/10597005835134961469noreply@blogger.com0tag:blogger.com,1999:blog-1401624891557825179.post-82953547006710850852013-08-06T10:40:00.002-07:002013-08-13T05:04:43.544-07:00<h2>
</h2>
<h2>
WERE THE GREEK AND ROMAN CIVILIZATIONS BLACK CIVILIZATIONS?</h2>
<br />
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">I recently
bought Sex and Race (1941) <o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">by JA
Rogers, three volumes.(euro 95)<o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">I
extensively used it for my first book in 2004,<o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">on the
brown and black skinned European elite.<o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">Because of
this my first book is now dated and somewhat misguided.<o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">The
illustration are great and I brought brown and black Dutch nobles out of the
racist closet.<o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">If twenty
scientist say the same thing, one is bound to accept this as a fact,<o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">yet only now
I understand how far the revision after 1848 went and why they did this.<o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">To alter
the portraits was a masterstroke but is also the weakness of the revisionism<o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">The
physical evidence is still here, it should have been destroyed.<o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">But we
would still have the personal descriptions, <o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">the
engravings and the novel personages who are brown and black.<o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">Rogers
wrote extensively about Blacks in the Greek/Roman world but like<o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">Snowden he
saw them as immigrants and as a 'strain': but not at the center <span style="mso-spacerun: yes;"> </span>of things.<o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">Europeans
are equated with 'whites.' Blacks are somehow imbued with slave DNA.<o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">He named
the nicknames of emperors as 'niger' or 'afer.'<o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">Yet because
he is blinded by the whitened images, he cannot see the whole.<o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">Who could
suspect the color of an whole elite to have been changed?<o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">How did a
Black man became emperor in Greece if it was dominated by white Europeans?<o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">And did he
not have a family, and how did they came to be in this position,<o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">and what
happened to the family?<o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">So my
research is not about Black DNA among the Greeks, whatever this is,<o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">But
Europeans who came from Africa, became an elite over <span style="mso-spacerun: yes;"> </span>the European latecomers,<o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">and never
mixing with them as the brown and black color stood for nobility and
superiority.<o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">The brown
and black Europeans were the Greek and Roman noble elite, and some had<o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">classical
African facial traits, which we sometimes find in images,<o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">but they
could also have been omitted for some strange reason,<o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">as
everybody could understand that the emperor or a noble or a writer <o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">could only
be part of the brown and black complexioned elite.<o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">So I’m back
to Rogers, he offers sources and details that can be worked, <o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">although he
did not see what he had by way of evidence.<o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">There are
glimpses and his despair over some sources is obvious,<o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">But he was
not Egmond Codfried, and he did not live my life, <o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">and his aim
was really showing that white and black mixing was universal,<o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">and did not
cause civilizations falling apart or something the Nazis were claiming.<o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><o:p><span style="font-family: Calibri;"> </span></o:p></span></div>
<br />
========================================<br />
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">The
Greek/Roman civilization <o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">was run by
brown and black skinned people.<o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">Looking
just like Henrietta Lacks', kin.<o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">As you seem
to be some senior power here,<o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">it is the
likes of you who foster obscurantism.<o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">I'm
offering scientific research, evidence, sources,<o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">images,
description to determine if the paint had darkened,<o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">or if the
artist like Apelles saw Alexander the Great <o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">as swarthy,
zwart, black of skin.<o:p></o:p></span></span></div>
<br />
===================<br />
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quote: Plutarch on Alexander the Great's Appearance</div>
<br />
Plutarch writes that Alexander was fair, but doesn't say he had red hair. <br />
Plutarch's Life of Alexander (Section 4) <br />
"4 The outward appearance of Alexander is best represented by the statues of him which Lysippus made, and it was by this artist alone that Alexander himself thought it fit that he should be modeled. 2 For those peculiarities which many of his successors and friends afterwards tried to imitate, namely, the poise of the neck, which was bent slightly to the left, and the melting glance of his eyes, this artist has accurately observed. 3 Apelles, however, in painting him as wielder of the thunder-bolt, did not reproduce his complexion, but made it too dark and swarthy. Whereas he was of a fair color, as they say, and his fairness passed into ruddiness on his breast particularly, and in his face. 4 Moreover, that a very pleasant odor exhaled from his skin and that there was a fragrance about his mouth and all his flesh, so that his garments were filled with it, this we have read in the Memoirs of Aristoxenus."<br />
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<span style="color: black; font-family: "Helvetica","sans-serif"; font-size: 9pt; line-height: 115%;"><a href="http://www.usu.edu/markdamen/1320Hist&Civ/slides/12cults/pompeiifresco.jpg" target="_blank"><span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="color: #1d558f;">http://www.usu.edu/markdamen/1320H.../12cults/pompeiifresco.jpg</span></span></a></span><span lang="EN-US" style="color: black; font-family: "Helvetica","sans-serif"; font-size: 9pt; line-height: 115%; mso-ansi-language: EN-US;"><br />
<br />
<br />
<br />
[Roman Blacks leading a Isis worship religious ceremony in ancient Pompeii]<br />
<br />
Yesterday I read an article in Archeology, a magazine which stated it was
impossible to make a genetic link between present day Europeans and the hunter
gatherers of before 6000 BC. It seems that the present Europeans are
descendants from later era’s and came from elsewhere. This reminded me of my
idea that white Europeans came to Europe around 6000 years ago from Central
Asia, but that the majority of whites only came to Europe around 400 AD, with
the great peoples movements. The first Europeans came from Africa, had all
possible African complexions and face types. Because they were the first, and
considered themselves true Europeans: part of this group declared itself in
1100-1200 a noble elite and a bourgeoisie that dominated the white latecomers.
This nobility fashioned itself after the Greek nobility which also saw itself
as true Greek against others called barbarians. Classical Greek and Roman
civilization were quoted a lot by the elite after 1100 because they saw
themselves as inheritors of this civilization. I read that Julius Caesar was
brown of complexion. Their civilization was based on that of Egypt. Blacks in
Antiquity (1971) by Frank Snowden shows a lot of images we call Moors,
classical African types. He found that there was no color line. Color was discussed
when a white woman delivered a Black baby, and class and religion were in
question. But just like the period 1100-1848 was white washed, in spite of many
written references to the brown and black complexion of Kings and Emperors, I
suspect the classical era was also whitened. There are painted scenes of Isaiac
religious ceremonies with Blacks and a Black priest. I could be that in art,
like the Egyptians, they favored the depiction of a facial type that reflected
all facial types, that somehow by strange definition came to be considered
white. Like only persons with classical African facial traits are Blacks, and
the others are whites in spite of a brown or Black skin. So I will next find
some biographies about some classical grandees and see how they are described
and depicted by themselves and their contemporaries.<br />
<br />
Egmond Codfried<br />
Curator Blue Blood Is Black Blood Museum<br />
The Hague<br />
<br />
<br />
</span><span style="color: black; font-family: "Helvetica","sans-serif"; font-size: 9pt; line-height: 115%;"><a href="http://webecoist.momtastic.com/wp-content/uploads/2009/09/Albino_Animals_5x.jpg" target="_blank"><span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="color: #1d558f;">http://webecoist.momtastic.com/wp-...9/09/Albino_Animals_5x.jpg</span></span></a><o:p></o:p></span></div>
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<span lang="EN-US" style="color: black; font-family: "Helvetica","sans-serif"; font-size: 9pt; line-height: 115%; mso-ansi-language: EN-US;">Were
the Greek and Roman civilizations Black civilizations?<br />
<br />
</span><span style="color: black; font-family: "Helvetica","sans-serif"; font-size: 9pt; line-height: 115%;"><a href="http://www.usu.edu/markdamen/1320Hist&Civ/slides/12cults/pompeiifresco.jpg" target="_blank"><span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="color: #1d558f;">http://www.usu.edu/markdamen/1320H.../12cults/pompeiifresco.jpg</span></span></a></span><span lang="EN-US" style="color: black; font-family: "Helvetica","sans-serif"; font-size: 9pt; line-height: 115%; mso-ansi-language: EN-US;"><br />
<br />
<br />
[Roman Blacks leading a Isis worship religious ceremony in ancient Pompeii]<br />
<br />
Yesterday I read an article in Archeology, a magazine which stated it was
impossible <br />
to make a genetic link between present day Europeans and the hunter gatherers
of <br />
before 6000 BC. It seems that the present Europeans are descendants from later
era’s <br />
and came from elsewhere. This reminded me of my idea that white Europeans came
to Europe <br />
around 6000 years ago from Central Asia, but that the majority of whites only
came to Europe <br />
around 400 AD, with the great peoples movements. The first Europeans came from
Africa, <br />
had all possible African complexions and face types. Because they were the
first, <br />
and considered themselves true Europeans: part of this group declared itself in
1100-1200 <br />
a noble elite and a bourgeoisie that dominated the white latecomers. This
nobility <br />
fashioned itself after the Greek nobility which also saw itself as true Greek
against <br />
others called barbarians. Classical Greek and Roman civilization were quoted a
lot <br />
by the elite after 1100 because they saw themselves as inheritors of this
civilization. <br />
I read that Julius Caesar was brown of complexion. Their civilization was based
on that of Egypt. <br />
Blacks in Antiquity (1971) by Frank Snowden shows a lot of images we call
Moors, classical African types. <br />
He found that there was no color line. Color was discussed when a white woman
delivered a Black baby, <br />
and class and religion were in question. But just like the period 1100-1848 was
white washed, <br />
in spite of many written references to the brown and black complexion of Kings
and Emperors, <br />
I suspect the classical era was also whitened. There are painted scenes of
Isaiac religious ceremonies <br />
with Blacks and a Black priest. I could be that in art, like the Egyptians,
they favored the depiction <br />
of a facial type that reflected all facial types, that somehow by strange
definition came to be considered white. <br />
Like only persons with classical African facial traits are Blacks, <br />
and the others are whites in spite of a brown or Black skin. <br />
So I will next find some biographies about some classical grandees <br />
and see how they are described and depicted by themselves and their
contemporaries.<br />
<br />
Egmond Codfried<br />
Curator Blue Blood Is Black Blood Museum<br />
The Hague<br />
<br />
<br />
</span><span style="color: black; font-family: "Helvetica","sans-serif"; font-size: 9pt; line-height: 115%;"><a href="http://webecoist.momtastic.com/wp-content/uploads/2009/09/Albino_Animals_5x.jpg" target="_blank"><span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="color: #1d558f;">http://webecoist.momtastic.com/wp-...9/09/Albino_Animals_5x.jpg</span></span></a><o:p></o:p></span></div>
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<span lang="EN-US" style="color: black; font-family: "Helvetica","sans-serif"; font-size: 9pt; line-height: 115%; mso-ansi-language: EN-US;"><br />
Whites resemble albinos, and are probably descendants of albinos who left
Africa 45.000 years ago as a group and settled in central Asia, before they
came to Europe. Whites are not native to Europe. We believe this because all
old master portraits were altered after 1848 to hide the brown and black faces
of the European elite.<o:p></o:p></span></div>
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<span lang="EN-US" style="color: black; font-family: "Helvetica","sans-serif"; font-size: 9pt; line-height: 115%; mso-ansi-language: EN-US;"><o:p> </o:p></span></div>
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<span style="color: black; font-family: "Helvetica","sans-serif"; font-size: 9pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;"><a href="http://www.bol.com/nl/p/blacks-in-antiquity/1001004000595299/?Referrer=ADVNLGOT0020111001004000595299" target="_blank"><span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="color: #1d558f;">http://www.bol.com/nl/p/blacks-in-...LGOT0020111001004000595299</span></span></a></span><span lang="EN-US" style="color: black; font-family: "Helvetica","sans-serif"; font-size: 9pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;"><o:p></o:p></span></div>
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<br /></div>
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<span lang="EN-US" style="color: black; font-family: "Helvetica","sans-serif"; font-size: 9pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">“The Africans who came to ancient Greece and Italy participated
in an important chapter of classical history. <br />
Although evidence indicated that the alien dark- and black-skinned people were
of varied tribal and geographic origins, <br />
the Greeks and Romans classified many of them as Ethiopians. In an effort to determine
the role of black people in ancient civilization, <br />
Mr. Snowden examines a broad span of Greco-Roman experience--from the Homeric
era to the age of Justinian--focusing his attention on the Ethiopians as they
were known to the Greeks and Romans. The author dispels unwarranted
generalizations about the Ethiopians, contending that classical references to
them were neither glorifications of a mysterious people nor caricatures of rare
creatures.”</span><span lang="EN-US" style="color: black; font-family: "Helvetica","sans-serif"; font-size: 9pt; line-height: 115%; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;"></span><br />
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<span lang="EN-US" style="color: black; font-family: "Helvetica","sans-serif"; font-size: 9pt; line-height: 115%; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;"></span><br />
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<span lang="EN-US" style="color: black; font-family: "Helvetica","sans-serif"; font-size: 9pt; line-height: 115%; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;"><div class="separator" style="clear: both; text-align: center;">
<br /></div>
I suspect Mr. Snowdon, Like JA Rogers to be misguided because of faulty
secondary sources that had whitened the Greek and Roma eras. <br />
Snowden writes about the Greek Blacks as immigrants, and seems to believe that <br />
whites are indigenous to Europe or that they founded any civilization. <br />
The blue blood theory and the International campaing against fake over paints <br />
will open doors to much new research.<o:p></o:p><br />
</span><br />
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<span lang="EN-US" style="color: black; font-family: "Helvetica","sans-serif"; font-size: 9pt; line-height: 115%; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;"><o:p></o:p></span> </div>
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<span lang="EN-US" style="color: black; font-family: "Helvetica","sans-serif"; font-size: 9pt; line-height: 115%; mso-ansi-language: EN-US;">You
might not be aware of my campaign against the fake, beige over paints in all
museums.<br />
It’s a hoax like 9/11, Bush bombing America, is a hoax, you cannot even talk
about.<br />
Both Blacks and whites have remarked that all historical writers, scientists,
discoverers are according to revisionist history whites.<br />
Some people next wonder how this is possible as on observation there is nothing
special nor superior about whites.<br />
So they came up with this blanket statement: there were no Blacks in Europe.<br />
Africa is just a few miles from Europe, on a clear day in Tanger you can see
the Spanish coast,<br />
and most agree that the first Europeans were Africans,<br />
But then they say these Africans became white 6000 years ago, while it were the
non- native whites that came to Europe 6000 years ago from Central Asia.<br />
It all started 1848 when white serfs were emancipated and shoe leather to the
nobility no more,<br />
they had all old master portraits of the brown and black skinned elite altered,<br />
And you can still see the brown and black skin under the beige and pink if its
pointed out to you, and that why I'm banned because I'm telling the truth they
have been hiding for 165 years.<br />
Brown and Black Europeans civilize and Christianized the hell out of whites.<br />
And whites are still kissing the ass of Black entertainers like Diana Ross.<o:p></o:p></span></div>
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<br />
</span><span style="color: black; font-family: "Helvetica","sans-serif"; font-size: 9pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;"><a href="http://answers.yahoo.com/question/index?qid=20090628113900AAGU8oY" target="_blank"><span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="color: #1d558f;">http://answers.yahoo.com/question/index?qid=20090628113900AAGU8oY</span></span></a></span><span lang="EN-US" style="color: black; font-family: "Helvetica","sans-serif"; font-size: 9pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;"><br />
<br />
When it comes to discription of complexion confusion reigns.<br />
Caligula was ' palled' and some assume he was thus white and very pale white.<br />
When we read 'swarthy' again everybody has his own vision.<br />
But if we look at a portrait like the engraving of George Keppel, <br />
we see a very dark, black skin, as his family was famous for being swarthy,<br />
according to Isabelle de Charriere. His uncle baron Aarnoud Joost van der
Duyn van Maasdam,<br />
was brownblack: De Charriere wrote a poem about baron Maasdam:<br />
A son teint noir et basane, about his brown black complexion.<br />
Boswell saw him as ' chimney sweeper.' <br />
Cassandra Austen, the big sis of Jane Austen (1775-1817) was described as
pale, <br />
but her sis Jane was a brunette of complexion. a brown, not a pink color.<br />
Their niece Eliza de Feuillide was a daughter of George Austen' sister, and
he was the father of Jane and Cassandra, <br />
and de Feuillide speaks of her own ' native brown color heightened with a
tan.' <br />
</span><span style="color: black; font-family: "Helvetica","sans-serif"; font-size: 9pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">So pale, of palid, yet still brown of color<o:p></o:p></span></div>
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<span style="color: black; font-family: "Helvetica","sans-serif"; font-size: 9pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;"><o:p> </o:p></span></div>
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<span lang="EN-US" style="color: black; font-family: "Helvetica","sans-serif"; font-size: 9pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">What about their looks, <br />
were they brown and black of complexion, <br />
with some having classical African facial traits, <br />
we call Black today?<o:p></o:p></span></div>
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<span lang="EN-US" style="color: black; font-family: "Helvetica","sans-serif"; font-size: 9pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">The following abridged list of rulers for the
ancient Greek world is primarily for the rulers of the Hellenistic age
(323–31 B.C.), after the time of Alexander the Great. In the preceding
centuries, the dominant geopolitical unit was the polis or city-state. Greek
city-states were governed by a variety of entities, including kings,
oligarchies, tyrants, and, as in the case of Athens, a democracy.<br />
<br />
Table of Contents Rulers of Macedonia The Ptolemaic Dynasty of Egypt The
Seleucid Dynasty, Rulers in Asia Minor The Attalids, Rulers of Pergamon
Rulers of Pontus Rulers of Baktria <br />
Rulers of Macedonia 496–168 B.C. <br />
<br />
Alexander I 496–454 B.C. <br />
Perdikkas II 454–413 B.C. <br />
Archelaos I 413–399 B.C. <br />
</span><span lang="FR" style="color: black; font-family: "Helvetica","sans-serif"; font-size: 9pt; mso-ansi-language: FR; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">Aeropos II 398–395 B.C. <br />
Amyntas II 395–394 B.C. <br />
Amyntas III 393–370 B.C. <br />
</span><span lang="EN-US" style="color: black; font-family: "Helvetica","sans-serif"; font-size: 9pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">Perdiccas III 365–359 B.C. <br />
Philip II 360/59–336 B.C. <br />
Alexander III (the Great)(1) 336–323 B.C. 1 <br />
Philip III Arrhidaios 323–317 B.C. <br />
Alexander IV 323–310 B.C. <br />
Olympias 317–316 B.C. <br />
Cassander 315–297 B.C. <br />
Philip IV 297 B.C. <br />
Antipatros and Alexander V 297–294 B.C. <br />
Demetrios I Poliorketes ("Besieger") 294–288 B.C. <br />
Pyrrhos of Epeiros 288/7–285 B.C. <br />
Lysimachos 288/7–281 B.C. <br />
Seleukus 281 B.C. <br />
Ptolemaios Keraunos ("Thunderbolt") 281–279 B.C. <br />
</span><span lang="FR" style="color: black; font-family: "Helvetica","sans-serif"; font-size: 9pt; mso-ansi-language: FR; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">Antigonos II Gonatas ca. 277–239 B.C. <br />
Demetrios II 239–229 B.C. <br />
Antigonos III Doson ca. 229–222 B.C. <br />
Philip V 222–179 B.C. <br />
</span><span lang="EN-US" style="color: black; font-family: "Helvetica","sans-serif"; font-size: 9pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">Perseus 179–168 B.C. <br />
The Ptolemaic Dynasty of Egypt(2) 306–30 B.C. 2 <br />
Ptolemy I Soter ("Savior"; governor from 323) 306–282 B.C. <br />
Ptolemy II Philadelphos ("Sister-friend") 284–246 B.C. <br />
Ptolemy III Euergetes ("Benefactor") 246–222 B.C. <br />
Ptolemy IV Philopator ("Father-friend") 222–204 B.C. <br />
Ptolemy V Epiphanes ("[God] Manifest") 210–180 B.C. <br />
Cleopatra I 180–177 B.C. <br />
Ptolemy VI Philometor ("Mother-friend") 180–164, 163–145 B.C. <br />
Cleopatra II 170–115 B.C. <br />
Ptolemy VIII Euergetes II Physkon ("Potbelly") 170–163, 145–116
B.C. <br />
Ptolemy VII Neos Philopator (with Ptolemy VI and briefly after the latter's
death) 145–144 B.C. <br />
Ptolemy IX Soter II Lathyros ("the Bean") 116–107, 88–81 B.C. <br />
Cleopatra III 140–101 B.C. <br />
Ptolemy X Alexander I 107–88 B.C. <br />
Berenike III 100–80 B.C. <br />
Ptolemy XI Alexander II 80 B.C. <br />
Ptolemy XII Neos Dionysos Auletes ("the Piper") 80–58, 55–51 B.C. <br />
Cleopatra V 80–69 B.C. <br />
Berenike IV and Cleopatra VI 58–55 B.C. <br />
Ptolemy XIII 51–47 B.C. <br />
Cleopatra VII 51–30 B.C. <br />
Ptolemy XIV 47–44 B.C. <br />
Caesarion (Ptolemy XV) 44–30 B.C. <br />
The Seleucid Dynasty, Rulers in Asia Minor 305–63 B.C. <br />
Seleukos I Nikator ("Victor"; ruler from 312) 305–281 B.C. <br />
Antiochos I Soter (co-ruler from 294 or 293) 281–261 B.C. <br />
Antiochos II Theos ("the God") 261–246 B.C. <br />
Seleukos II Kallinikos ("the Glorious Victor") 246–226/5 B.C. <br />
Seleukos III 226/5–223 B.C. <br />
Antiochos III Megas ("the Great") 223–187 B.C. <br />
Seleukos IV Philopator 187–175 B.C. <br />
Antiochos IV Epiphanes 175–164 B.C. <br />
Antiochos V Eupator ("of the Good Father") 164–162 B.C. <br />
Deemtrios I Soter 162–150 B.C. <br />
Alexander Balas (Epiphanes) 150–145 B.C. <br />
Demetrios II Nikator 145–140, 129–126/5 B.C. <br />
Antiochos VI Epiphanes 145–142 B.C. <br />
Diodotos "Triophon," pretender 142–139/8 B.C. <br />
Antiochos VII Sidetes 139/8–129 B.C. <br />
Kleopatra Thea ("Goddess") 126/5–123 B.C. <br />
Antiochos VIII Grypos 126/5–96 B.C. <br />
Seleukos V 126 B.C. <br />
Antiochos IX Philopator "of Kyzikos" 114/3–95 B.C. <br />
Seleukos VI 95 B.C. <br />
Antiochos X Eusebes ("the Pious") Philopator 95 B.C. <br />
Demetrios III Philopator Soter (at Damascus) 95–88 B.C. <br />
Antiochos XI Epiphanes Philadelphos (in Cilicia) 95 B.C. <br />
Philip I (in Cilicia) 95–84/3 B.C. <br />
Antiochos XII Dionysos (at Damascus) 87 B.C. <br />
Philip II 84/3 B.C. <br />
Antiochos XIII Philadelphos 69–63 B.C. <br />
The Attalids, Rulers of Pergamon 283–129 B.C. <br />
Philetairos (not king) 283–263 B.C. <br />
Eumenes I (not formally king) 263–241 B.C. <br />
Attalos I Soter 241–197 B.C. <br />
Eumenes II Soter 197–159/8 B.C. <br />
Attalos II 159/8–139/8 B.C. <br />
Attalos III 139/8–133 B.C. <br />
Aristonikos ("Eumenes III") 133–129 B.C. <br />
Rulers of Pontus ca. 280–63 B.C. <br />
Mithridates I ca. 280–ca. 266 B.C. <br />
Ariobarzanes ca. 266–ca. 255 B.C. <br />
Mithridates II ca. 255–ca. 220 B.C. <br />
Mithridates III ca. 220–ca. 185 B.C. <br />
Pharnaces I ca. 185–ca. 170 B.C. <br />
Mithridates IV Philopator ca. 170–ca. 150 B.C. <br />
Mithridates V Euergetes ca. 150–120 B.C. <br />
Mithridates VI Eupator, "the Great" ca. 120–63 B.C. <br />
Rulers of Baktria 256–55 B.C. <br />
Diodotos I 256–248 B.C. <br />
Diodotos II 248–235 B.C. <br />
Euthydemos I ca. 235–ca. 200 B.C. <br />
Euthydemos II ca. 200–ca. 190 B.C. <br />
Demetrios I ca. 200–ca. 185 B.C. <br />
Antimachos I ca. 195–ca. 185 B.C. <br />
Pantaleon ca. 185–ca. 180 B.C. <br />
Demetrios II ca. 185–ca. 175 B.C. <br />
Agathokles ca. 180–ca. 165 B.C. <br />
Eukratides I (usurper?) ca. 171–ca. 155 B.C. <br />
Agathokleia and Menandros ca. 155–ca. 130 B.C. <br />
Kalliope and Hermaios ca. 75–ca. 55 B.C. <br />
<br />
Department of Greek and Roman Art, The Metropolitan Museum of Art <o:p></o:p></span></div>
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<span lang="EN-US" style="color: black; font-family: "Helvetica","sans-serif"; font-size: 9pt; mso-ansi-language: EN-US;"><br />
I predict that the Greek and Roman elite was brown and black of complexion, <br />
made up of the first Europeans who came from Africa, considering themselves <br />
true Europeans because they came first, long before the others.<br />
The Greek nobility saw itself as from the soil, so true Greeks and Europeans.<br />
Whites came from 6000 years ago, while the greatest number came around 400AD.<br />
So with a slight of hand, also accepted by Snowden and Rogers,<br />
after 1848 Greek civilization was made white.<br />
<br />
Perhaps the whites were then not present in great numbers,<br />
perhaps some sharing of power,<br />
The idea that Greek slaves became free man after some time,<br />
indicated that their lesser status was not fixed.<br />
Yet the non-noble Blacks were seen as equal to whites,<br />
if we read Emma (1816) by Jane Austen as non-fiction.<br />
but by 1100-1200 when the modern nobility started, <br />
they did not share any power with whites,<br />
perhaps they had come in too great numbers.<br />
<br />
Would it not be nice if a civilized educated person would answer me?<br />
Somebody who read biographies and knows about complexions,<br />
but is not some stupid fucking racist?<o:p></o:p></span></div>
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<span lang="EN-US" style="color: black; font-family: "Helvetica","sans-serif"; font-size: 9pt; mso-ansi-language: EN-US;"><o:p> </o:p></span></div>
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<span lang="EN-US" style="color: black; font-family: "Helvetica","sans-serif"; font-size: 9pt; mso-ansi-language: EN-US;">Ptolemy XV Caesarion<br />
<br />
At the Louvre in Paris there is a bust of Ptolemy XV Caesarion, <br />
the son of Cleopatra, and although the nose is sawn off,<br />
you can still see prognathism and full lips.<br />
</span><span style="color: black; font-family: "Helvetica","sans-serif"; font-size: 9pt;">It is somewhere on the web.<o:p></o:p></span></div>
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<span lang="EN-US" style="color: black; font-family: "Helvetica","sans-serif"; font-size: 9pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">quote: Plutarch on Alexander the Great's Appearance<br />
<br />
Plutarch writes that Alexander was fair, but doesn't say he had red hair. <br />
Plutarch's Life of Alexander (Section 4) <br />
"4 The outward appearance of Alexander is best represented by the
statues of him which Lysippus made, and it was by this artist alone that
Alexander himself thought it fit that he should be modeled. 2 For those
peculiarities which many of his successors and friends afterwards tried to
imitate, namely, the poise of the neck, which was bent slightly to the left,
and the melting glance of his eyes, this artist has accurately observed. 3
Apelles, however, in painting him as wielder of the thunder-bolt, did not
reproduce his complexion, but made it too dark and swarthy. Whereas he was of
a fair color, as they say, and his fairness passed into ruddiness on his
breast particularly, and in his face. 4 Moreover, that a very pleasant odor
exhaled from his skin and that there was a fragrance about his mouth and all
his flesh, so that his garments were filled with it, this we have read in the
Memoirs of Aristoxenus.<br style="mso-special-character: line-break;" />
<br style="mso-special-character: line-break;" />
<o:p></o:p></span></div>
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<span lang="EN-US" style="color: black; font-family: "Helvetica","sans-serif"; font-size: 9pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">Apelles...but made it too dark and swarthy.<o:p></o:p></span></div>
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<span style="color: black; font-family: "Helvetica","sans-serif"; font-size: 9pt;"><a href="http://womenshistory.about.com/od/cleopatra/a/was_cleopatra_black.htm" target="_blank"><span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="color: #1d558f;">http://womenshistory.about.com/od/.../a/was_cleopatra_black.htm</span></span></a></span><span lang="EN-US" style="color: black; font-family: "Helvetica","sans-serif"; font-size: 9pt; mso-ansi-language: EN-US;"><br />
<br />
The question about the ethnicity of classical leaders/elites is legitimate,<br />
it did not start with me.<br />
Here they discuss Cleopatra’s complexion, and if she was Black.<br />
Black is not defined.<br />
Black is a face type, with a broadish nose and subnasal prognathism. <br />
Next frizzled hair, thick lips and a dark complexion.<br />
Because of portraits we cannot talk about body type.<br />
I like also to see more indication of a Black identity,<br />
Such as Obama marrying a Black women to have Black off spring.<br />
In his case he could have also married a white woman as he is half white.<br />
Because of my blue blood research we are aware of the brown and <br />
black complexioned Europeans self-identifying as Black with heraldic Moors,<br />
As the sign of pure blood and nobility were classical African facial traits.<br />
Nobility was based on the idea that the brown and black skinned Europeans <br />
were true Europeans, from the soli, as they came long before the whites or
others to Europe.<br />
Many royal images show the Egyptian elite as classical African in looks.<br />
The face of the sphinx was classical African. Mummies show classical African
types.<br />
Deities were colored brown and black.<br />
The article assumes that the Macedonians were whites,<br />
Because the basis of this article is the wrong believe that there were no
blacks in Europe,<br />
While Alexander the Great was described and portrayed as dark and swarthy.<br />
I assume that because even in Europe the elite was brown and black of
complexion,<br />
There is no way the Greek/Egyptian could be white.<br />
So Cleopatra did not have a white complexion, but was brown or black of
complexion.<br />
There is a text which says she was black of color.<br />
As the brown and black skinned types freely intermarried, I think of the
whole elite to be Black.</span><span lang="EN-US" style="color: black; font-family: "Helvetica","sans-serif"; font-size: 9pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;"><o:p></o:p></span></div>
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<span lang="EN-US" style="color: black; font-family: "Helvetica","sans-serif"; font-size: 9pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;"><o:p> </o:p></span></div>
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<span lang="EN-US" style="color: black; font-family: "Helvetica","sans-serif"; font-size: 9pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">Rulers of Pontus ca. 280–63 B.C. <br />
Mithridates I ca. 280–ca. 266 B.C. <o:p></o:p></span></div>
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A trip to Turkey brought me to the tumulus of one Mithridates, ruler of
Pontus.<o:p></o:p></span></div>
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<span lang="EN-US" style="color: black; font-family: "Helvetica","sans-serif"; font-size: 9pt; mso-ansi-language: EN-US;">Cleopatra VII,<br />
this image does not show complexion,<br />
and we do not know her true features.<br />
Or those of her parents or siblings.<br />
Images were made with an ideal type in mind,<br />
so we need many more sources to be sure.<br />
A image of her son shows classical African facial traits.<br />
The Macedonian elite was not white,<br />
white were the newcomers, the barbarians.</span><span lang="EN-US" style="color: black; font-family: "Helvetica","sans-serif"; font-size: 9pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;"><o:p></o:p></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">http://www.clockexhibition.nl/images/Huygens_2.jpg<o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">[img]http://www.clockexhibition.nl/images/Huygens_2.jpg[/img]<o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><o:p><span style="font-family: Calibri;"> </span></o:p></span></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">Christiaan
Huygens is depicted in many ways,<o:p></o:p></span></span></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">this
engraving shows the strongest classical African facial traits and dark skin,<o:p></o:p></span></span></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">you can
check the whitened Rembrandt portrait of his uncle Maurits Huygens,<o:p></o:p></span></span></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">looking
like a raging mulatto.<o:p></o:p></span></span></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">and
drawings or engravings of his father Constantijn,<o:p></o:p></span></span></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">who showed dark
of skin.<o:p></o:p></span></span></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">His grandma
also looks a bit classical African on a Van Mierevelt.<o:p></o:p></span></span></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">Rogers was
complaining that his criticaster never looked in at his sources,<o:p></o:p></span></span></div>
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</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">and often
did not even read his books, that <span style="mso-spacerun: yes;"> </span>they
denounced.<o:p></o:p></span></span></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">I'm finding
I have the same problem,<o:p></o:p></span></span></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">while we
today have internet, so anything can be found, <o:p></o:p></span></span></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">read and
assessed.<o:p></o:p></span></span></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">Rogers had
to pay co-workers to be able to loan books from the library,<o:p></o:p></span></span></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">because as
a Black man he could not enter the library.<o:p></o:p></span></span></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">Like me he
based his research mostly on white writers,<o:p></o:p></span></span></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">but while I
came to read between the lines, <o:p></o:p></span></span></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">casting
things in an alternative light,<o:p></o:p></span></span></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">he often
went along with the lies and the revisionism.<o:p></o:p></span></span></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">As he was
not out to deceive, he imagined others would not want to deceive either.<o:p></o:p></span></span></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">But he was
wrong, the hatred of Blacks acts as a blinding force, <o:p></o:p></span></span></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">and forces
white scientist to falsify history, pervert their own findings,<o:p></o:p></span></span></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">to make
whites into a civilizing force, while they were just immigrants, <o:p></o:p></span></span></div>
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</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">barbarians
and lowly serfs, used as shoe leather by Blacks.<o:p></o:p></span></span></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><o:p><span style="font-family: Calibri;"> </span></o:p></span></div>
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</div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><o:p><span style="font-family: Calibri;"> </span></o:p></span></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><o:p><span style="font-family: Calibri;"> </span></o:p></span></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
Egmond Codfriedhttp://www.blogger.com/profile/10597005835134961469noreply@blogger.com0tag:blogger.com,1999:blog-1401624891557825179.post-48717401354412262152013-08-06T09:46:00.003-07:002013-08-23T07:55:19.366-07:00<h2>
POLITIEKE COMMENTAREN/ BRIEVEN AAN INSTANTIES EN PERSONEN</h2>
<br />
<br />
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%;">Geschiedvervalsing met beige overgeschilderde Oude Meesterportretten
sinds 1848 in alle musea ter wereld.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%;">Den Haag, 23 augustus 2013.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%;">Geachte IISG. Slaverij Online, Rijksmuseum Amsterdam, Amsterdams Stadsarchief, Uitgeverij Amrit: Sandew Hira</span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%;">Drs Lianne Leonora adviseerde contact met u te zoeken, hoewel
ik via de website niet meteen aanknopingspunten vond, toen ik naar 'nobility'
zocht. Gezien de ervaringen met andere instanties ben ik bezorgd, maar omdat
dit de waarheid betreft, welke ons zal vrij maken, en ik niet van plan ben op
te geven, probeer ik het weer. Als Surinaamse Nederlander die niet hier in
Nederland opgroeide ontdekte ik al sinds <span style="mso-spacerun: yes;"> </span>2004 dat in 1848 de witte lijfeigenen en
horigen geëmancipeerd werden, met onze beroemde Grondwetswijziging van dat
zelfde jaar. De revolutionaire regeringen in heel Europa, want dit was het
resultaat van de 'Laatste Revoluties van 1848', zagen zich genoodzaakt alle
portretten en genrestukken van de Oude meesters te laten overschilderen. Men
zei dat de verf 'donker' was geworden wat mijn onderzoek bevestigt, <span style="mso-spacerun: yes;"> </span>dat er donkere personen te zien waren. Er zijn
nog foto’s van die vermeende verdonkerde portretten, die gewoon bruine en
zwarte mensen tonen zoals u die dagelijks in Amsterdam tegen komt. De oude
adellijke en regenten of bourgeoisie elite betrof personen die als bruin en
zwart van huid werden beschreven en ook zo werden afgebeeld. Ongeveer 10% had
klassieke Afrikaanse gelaatstrekken, wat wij vandaag Zwart noemen. Vanwege deze
beschrijvingen in haast alle biografieën, en vanwege gravures die meteen van
een geschilderd portret werden getrokken, staat vast dat deze donkere personen
ook als donker werden afgebeeld, en dat men hen pas later is gaan witten. Men
wilde terugval en opeisen van macht door deze gehate elite voorkomen, door hen
uit de geschiedenis te schilderen. Alle straten vernoemd naar historische personen
zijn meestal deze bruine en zwarte personen die zich beslist anders en verheven
boven de witten voelden. <span style="mso-spacerun: yes;"> </span>Het belang van
dit onderzoek is dat vele vragen en problemen vandaag verklaard kunnen worden.
Waarom er zoveel Griekse, Romeinse en Renaissance afbeeldingen zijn van Zwarten
in de Europese kunst, literatuur, taal etc. Deze Moren waren heraldische
symbolen en stonden voor blauw bloed (hoge of ware adel) en Zwarte
Superioriteit. Alle Europese keizers, koningen, adel en regenten waren licht
bruin, bruin, erg bruin en zwarte personen. Zij waren de eerste Europeanen uit Afrika
en daarom ‘edel’ t.o. van de witten uit Centraal Azië. Men kan nog steeds de
bruine huid onder de valse beige lagen zien. Dit is het resultaat van
'restaureren' om de stukken in hun vermeende oorspronkelijke staat terug te
brengen, terwijl de schilders bruine en zwarte elite personen schilderden. De
wetenschappelijk bewijsvoering is niet ingewikkeld. Overschildering wordt
erkent, maar was de verf werkelijk donker geworden, is de vraag. Wel merk ik al
tien jaar dat zelf beschaafde, wetenschappelijk onderlegde witte Nederlanders
met grote verbijstering, paniek, woede, <span style="mso-spacerun: yes;"> </span>onwil, vijandigheid en belediging reageren in plaats
van deze zaak aan te pakken. Het is een grotere fraude dan het
wielerdopingschandaal, het paardevleesschandaal en het Diederik Stapel
schandaal bijeen. De vraag is of wij na 165 jaar nog door moeten gaan met deze
fraude, welke ook ten nadeel van Zwarte mensen is?<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">Egmond Codfried, </span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">Conservator
Suriname Blue Blood Is Black Blood Museum<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%;">Eemstraat 36, Den Haag<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%;">bluebloodisblackblood.blogspot.com</span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%;"></span> </div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%;">===========================================================<o:p></o:p></span></div>
<br />
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<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 10pt;"><v:shapetype coordsize="21600,21600" filled="f" id="_x0000_t75" o:preferrelative="t" o:spt="75" path="m@4@5l@4@11@9@11@9@5xe" stroked="f">
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<o:lock aspectratio="t" v:ext="edit">
</o:lock></v:path></v:stroke></v:shapetype></span><span style="font-size: 10pt;">[On-geretoucheerde
schilderijen: De Staalmeesters. Bernd Haydn: ‘Blackamoor.’ Lorenzo de Medici.]<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 10pt;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 10pt;">Aan de Directie van het RKD <o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 10pt;">Tav Mw. Sabine Giepmans cc
Raad van Bestuur: Dhr Jan Hoekstra, Minister van Cultuur, Raad van de
Wetenschap, KNAW, KB, de Museumvereniging, het Rijksmuseum, het Mauritshuis, het
Haags Historisch Museum., Inzake: Geschiedvervalsing door het RKD/IB<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 10pt;">Maandag, 12 augustus 2013.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 10pt;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 10pt;">Geachte Mw. Sabine Giepmans,<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 10pt;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 10pt;">Helaas bleven reacties op
mijn eerdere brieven aan het RKD uit. Gaarne verzoek ik u om een reactie omdat
ik intussen vraagtekens te plaats bij uw aller integriteit. Gaarne informeer ik
u echter over mijn verdere bevindingen. Wanneer u tegen mij zegt, nadat ik u
een foto uit 1880 van de on-geretoucheerde, on-gerestaureerde De Staalmeesters
(1620) door Rembrandt liet zien, dat ‘de verf was donker geworden’; bevestigde
u in feite dat de figuren donker oogden. De klassieke Afrikaanse gelaatstrekken
van enkele Staalmeesters, regenten, gaan echter vaak samen met een zwarte
huidkleur. Helaas vermeldt de literatuur nooit wat de eerste restaurateurs
precies deden om deze wonderlijke verandering van alle Oude Meester stukken een
halt toe te roepen. <o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 10pt;"><o:p> </o:p></span></div>
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<div align="center" class="MsoNormal" style="margin: 0cm 0cm 0pt; text-align: center;">
<span style="font-size: 10pt;"><v:shape alt="" id="_x0000_i1026" style="height: 170.25pt; width: 141pt;" type="#_x0000_t75">
<v:imagedata o:href="http://www.art-prints-on-demand.com/kunst/rembrandt_harmensz_van_rijn/kitchen_maid_snm128534_hi.jpg" src="file:///C:\Users\publiek\AppData\Local\Temp\msohtmlclip1\01\clip_image009.jpg">
</v:imagedata></v:shape><span style="mso-spacerun: yes;"> </span><a href="http://bluebloodisblackblood.blogspot.com/2013/03/international-campaign-against-massive.html"><span style="color: blue; text-decoration: none; text-underline: none;"><v:shape alt="" href="http://bluebloodisblackblood.blogspot.com/2013/03/international-campaign-against-massive.html" id="irc_mi" o:button="t" o:spid="_x0000_i1027" style="height: 172.5pt; width: 156pt;" type="#_x0000_t75">
<v:imagedata o:href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_oUAallrIka_updcxSBuVZVOGuBjwkHUk-BA-_cimYm8GPabi81x8W0u118NA73e2eGUDI78s04WShZiS_twClw3T3dTpSqKL55cd769w1AkvIBkwuHhanpkQLG-PrpGjg4l_M2ux8QsY/s1600/J.+van+Beyeren.jpg" src="file:///C:\Users\publiek\AppData\Local\Temp\msohtmlclip1\01\clip_image011.jpg">
</v:imagedata></v:shape></span></a><a href="http://www.wordwakkerwereld.nl/viewtopic.php?f=35&t=5216&start=10"><span style="color: blue; text-decoration: none; text-underline: none;"><v:shape alt="" href="http://www.wordwakkerwereld.nl/viewtopic.php?f=35&t=5216&start=10" id="_x0000_i1028" o:button="t" style="height: 170.25pt; width: 129.75pt;" type="#_x0000_t75">
<v:imagedata o:href="http://ib.rkd.nl/showimg.mhtml?img=0000038206l.jpg" src="file:///C:\Users\publiek\AppData\Local\Temp\msohtmlclip1\01\clip_image013.jpg">
</v:imagedata></v:shape></span></a><o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 10pt;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 10pt;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 10pt;">[Gewitte Rembrandt met behoud
van klassieke Afrikaanse gelaatstrekken. Jan van Beyeren door Van Mierevelt: on-geretoucheerd
(1934). Petronella Borre, gewit met klassieke Afrikaanse trekken, de oma van
gouverneur Cornelis van Sommelsdijck]]<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 10pt;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 10pt;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 10pt;">De datum van de restauraties
en de naam van de restaurateurs zijn bekend, maar men stelt dat deze nieuwe
beroepsgroep geen verslag maakte van hun ingrepen. Men zou denken dat zij een
chemisch middel aanbrachten om het donker worden te stoppen en terug te
draaien. Schouwing van de werken leert echter dat ze simpelweg met beige en
roze verf werden overgeschilderd. De bruine en zwarte onderlagen op gezicht
handen, en soms lijf; zijn nog steeds zichtbaar onder de valse beige laag,
terwijl het haar met hoogsels werd lichter gemaakt. Gezichtshaar als snorren,
wimpers, wenkbrauwen, bakkebaarden en pony’s: werden over de valse beige laag
heen geschilderd. De valse huidlaag werd om de parelsnoeren heen geverfd, waar
men zou verwachten dat de parels direct op de huidlaag waren geschilderd. <o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 10pt;"><o:p> </o:p></span></div>
<br />
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<span style="font-size: 10pt;"><a href="http://minglecity.com/profiles/blogs/international-campaign-against-false-whitened-over-paints-of-all?id=2322904%3ABlogPost%3A27420775&page=5"><span style="color: blue; text-decoration: none; text-underline: none;"><v:shape alt="" href="http://minglecity.com/profiles/blogs/international-campaign-against-false-whitened-over-paints-of-all?id=2322904%3ABlogPost%3A27420775&page=5" id="_x0000_i1029" o:button="t" style="height: 170.25pt; width: 119.25pt;" type="#_x0000_t75">
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<span lang="FR" style="font-size: 10pt; mso-ansi-language: FR;">[gravures : Charles II Stuart. Voltaire. </span><span style="font-size: 10pt;">Lodewijk XIV]<o:p></o:p></span></div>
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<span style="font-size: 10pt;">Van geschilderde portretten
werd na productie meteen gravures getrokken om goedkope kopieën te kunnen
maken. Deze gravures tonen vaak de oorspronkelijke donkere huid. Hierdoor zou
de indruk kunnen bestaan dat de portretten meteen na aflevering donker zijn
geworden. Dat is niet aannemelijk. Verder zijn er persoonsbeschrijvingen die
melding maken van hoe een persoon eruit zag voor zijn tijdgenoten en biografen.
Deze informeren ons dat elite personen, waar onder ook hoog adellijke personen
als de Prins Willem I van Oranje (1533-1584) ‘meer bruin dan wit,’ en ‘ bruyn
van verve ende baerbe,’was. (Beresteyn 1933: 1)<span style="mso-spacerun: yes;">
</span>Men treft beschrijvingen als ‘The Black Boy’ (Charles II Stuart), dark,
bruin, zwart, niet de witte handen, zwartbruin, basané, swarthy, Black Tom
(Fairfax), very dark with black eyes and dark hair (Anna Boleyn, James Boswell),
black as chimney (Anna Margaretha van Aerssen), chimney sweeper (baron Aarnoud
Joost van der Duyn van Maasdam), lelijk (Jan Vos)’. De mummie van Lodewijk XIV
was ‘zwart als inkt.’ Barones Belle van Zuylen schreef dat de familie Van der
Duyn van Maasdam beroemd was als ‘swarthy.’ Zij schreef een gedicht over baron
Aarnoud Joost van der Duyn van Maasdam, ‘A son teint noir et basané’(1776)
(over zijn zwartbruine kleur); welke ten onrechte als een spotdicht wordt
gezien. Van Zuylen beschreef zichzelf als ‘Ze heeft niet de witte handen, ze
weet het en maakt er zelf grapjes over, maar huidkleur is geen zaak om mee te
spotten,’ aan de vooravond van de Franse Revolutie die tegen de adel was
gericht, die prat ging op hun bruine en zwarte huid. (Courtney 1993) Van
Zuylen’s oma, Maria Jacoba van Goor (1687–1737), was een zeer rijke
regentenvrouw, en oogt klassiek Afrikaans. (H.Serin 1731) Van Madame barones de
Staël-Holstein staat vermeld ‘too swarthy’ en ‘bad complexion’ terwijl haar
adellijke minnaar Benjamin Constant ‘very bad </span><span lang="EN-US" style="font-size: 10pt; mso-ansi-language: EN-US;">complexion</span><span style="font-size: 10pt;">’ had. Deze zwarte teint ziet men terug op de tekening
van Friedrich Tieck en op gravures van beide personen. Kortom, de
persoonsbeschrijvingen en de gravures tonen aan dat deze personen donker van
huid waren en dat de schilders bewust een donkere persoon wilden afbeelden. Wij
moeten dus een andere reden zoeken voor deze geschied vervalsende
overschilderingen die ten onrechte ‘restauraties’ worden genoemd. En waarmee
museumbezoekers worden misleid.<o:p></o:p></span></div>
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<span style="font-size: 10pt;">[George Keppel. Graaf Johan
VI van Nassau, de broer van Willem I. Maria Jacoba van Goor door H.Serin.]<o:p></o:p></span></div>
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<span style="font-size: 10pt;">De studie door Alison
McQueen, The Rise Of The Cult Of Rembrandt in 19th Century France, 2003, werpt
licht op de aanleiding en het doel van deze geschiedvervalsing. In 1848 erfden
de revolutionaire regeringen enorme collecties van Oude Meesters die de
gezichten en de esthetiek van het Ancien Regime toonden. Om terugval of het
opeisen van rechten en macht door de Ancien Regime te voorkomen werden zij uit
de geschiedenis geschilderd. Men beweerde simpelweg dat de verf donker was
geworden, waardoor deze kostbare kunstwerken werden behouden. Opvallend is dat
met het aantreden van de moderne adel; de Zwarte Madonna’s, Zwarte heiligen als
St Mauricius en Koning Balthasar werden geïntroduceerd om Zwarten, voorheen in
de iconografie voornamelijk bekend als heidenen en moslims, als goede
Christenen te presenteren. McQueen schrijft echter niet over de overschildering
als doel van deze cult, slechts dat men ten onrechte beweerde dat Rembrandt een
schilder van de derde stand was, dus van de witte Europeanen die pas in 1 848
geëmancipeerd werden. En in Frankrijk algemeen mannenkiesrecht kregen. In Nederland
hadden wij een Grondwetswijziging in dat jaar, en volgde algemeen mannen
kiesrecht vele jaren later. <o:p></o:p></span></div>
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<span style="font-size: 10pt;">[Detail Joshua Reynolds:
Moorin op portret Elizabeth Keppel. Zwarte Madonna van St. Puy. Koning
Balthasar. Gewitte adellijke vrouw met heraldische moortje. Maria Stuart met
een heraldische Moortje]<o:p></o:p></span></div>
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<span style="font-size: 10pt;">Men beweerde dus ten onrechte
dat het de intentie van alle oude meesters was om witte mensen af te beelden,
en dat de verf donker was geworden. Hierdoor werden vanaf 1848 alle werken met
beige en roze gewit, wellicht tot 1968. De Moortjes op adellijke portretten
werden ten onrechte tot slaven verklaard terwijl het geen personen maar
heraldische symbolen betreft die staan voor blauw bloed en Zwarte Suprematie.
Weinig bekend in Nederland, maar in heel Europa treft men veel afbeeldingen en
beeldjes van Zwarte Madonna’s die de moeder van god als een zwarte vrouw
voorstellen. Soms met klassieke Afrikaanse gelaatstrekken, zodat wij met
Zwarten te maken hebben. De elite was bruin en zwart en zagen daarom god ook
als zwart. Veel van deze beeldjes werden met de Franse revolutie vernietigd en
wij kijken nu vaak naar latere kopieën, met veranderde gezichtstrekken.<o:p></o:p></span></div>
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<span style="font-size: 10pt;">Mijn verwachting is dat mijn
onderzoek spoedig ingang zal vinden en dat men de schilderijen weer in hun oude
glorie zal herstellen. Als het goed is zijn de retouches omkeerbaar. Wetenschappelijk
onderzoek heeft als doel de kennis te vergroten. In deze verklaart mijn Blauw
Bloed is Zwart Bloed (1100-1848) onderzoek en mijn museum waarom men beweert dat
er ‘Geen Zwarten in Europa waren’ of waarom er geen Zwarte schrijvers en
wetenschappers zouden zijn. Men heeft simpelweg alle Zwarte denkers en
uitvinders als Voltaire, Rousseau, Anthony van Leeuwenhoek en Christiaan
Huygens; gewit. <o:p></o:p></span></div>
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<span style="font-size: 10pt;">[Maurits Huygens door
Rembrandt, gewit: niet in Huygensmuseum te zien. Maria de Lange: on-geretoucheerd,
niet op RKD online database. On-geretoucheerd portret van D’Hermenches.]<o:p></o:p></span></div>
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<span style="font-size: 10pt;">Deze begrijpelijke
geschiedvervalsing vond 165 jaar geleden plaats en is de ethische vraag van
vandaag: of wij als beschaafde natie deze zeer verwerpelijke deceptie moeten
blijven handhaven. Inmiddels is de Zwarte adel wit geworden door noodgedwongen
te trouwen met witten, en komt zij niet terug. De huidige bruine en zwarte
Nederlanders en burgers in de hele wereld ondervinden echter groot sociaal
nadeel door witte suprematie op basis van deze vervalste portretten. Ter
bevrijding van de derde stand, de witte Europeanen, van hun bruine en zwarte
meesters die nakomelingen waren van de eerste Europeanen die uit Afrika kwamen.
En zichzelf daarom als adel, als echte Europeanen ‘van de bodem’ en zich
superieur zagen tegenover de witten die veel later uit Centraal Azië kwamen;
verzonnen de bruine en zwart huidige Verlichtingsfilosofen menselijke Rassen en
Racisme tegen Zwarten, de adel. De witte Aziaten werden door de Grieken als
Barbaren en immigranten gezien en door de moderne Europese adel (ontstaan in
1100-1200) als lijfeigenen en horigen behandelt. De slavernij van Afrikanen
(1441-1863) werd uitgevonden toen de bruine en zwarte gekleurde elite de macht
had in Europa, en de reparatie betalingen van slavernij is nu slechts een
kwestie van achterstallig loon voor 350 jaar gratis arbeid.<o:p></o:p></span></div>
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</v:imagedata></v:shape><span style="mso-spacerun: yes;"> </span><a href="http://www.studyblue.com/notes/note/n/hellenistic/deck/745789"><span style="color: blue; text-decoration: none; text-underline: none;"><v:shape alt="" href="http://www.studyblue.com/notes/note/n/hellenistic/deck/745789" id="_x0000_i1043" o:button="t" style="height: 170.25pt; width: 109.5pt;" type="#_x0000_t75">
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</v:imagedata></v:shape></span></a><span style="mso-spacerun: yes;"> </span><a href="http://africaunlimited.com/uncategorized/was-socrates-black/"><span style="color: blue; text-decoration: none; text-underline: none;"><v:shape alt="" href="http://africaunlimited.com/uncategorized/was-socrates-black/" id="_x0000_i1044" o:button="t" style="height: 170.25pt; width: 115.5pt;" type="#_x0000_t75">
<v:imagedata o:href="http://africaunlimited.com/wp-content/uploads/2012/08/socrates1.jpg" src="file:///C:\Users\publiek\AppData\Local\Temp\msohtmlclip1\01\clip_image047.jpg">
</v:imagedata></v:shape></span></a><o:p></o:p></span></div>
<br />
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<span style="font-size: 10pt;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 10pt;">[Huwelijk van Alexander de
Grote. Alexander door Apelles, swarthy. Socrates]<o:p></o:p></span></div>
<br />
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<span style="font-size: 10pt;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 10pt;">De Grieks/Romeinse beschaving
werd wellicht ook vanaf 1848 gewit, want o.a. Alexander de Grote werd door
Apelles als ‘swarthy,’ met een zwarte huidkleur afgebeeld. De moderne adel
modelleerde zichzelf naar de Griekse adel. <o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 10pt;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 10pt;">Egmond Codfried<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="font-size: 10pt; mso-ansi-language: EN-GB;">Curator Suriname Blue Blood Is Black Blood Museum<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="font-size: 10pt; mso-ansi-language: EN-GB;">Eemstraat 36/ 2515 VS Den Haag<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="font-size: 10pt; mso-ansi-language: EN-GB;">Bluebloodisblackblood.blogspot.com<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="font-size: 10pt; mso-ansi-language: EN-GB;"><a href="http://minglecity.com/profiles/blogs/international-campaign-against-false-whitened-over-paints-of-all?id=2322904%3ABlogPost%3A27420775&page=2#comments">http://minglecity.com/profiles/blogs/international-campaign-against-false-whitened-over-paints-of-all?id=2322904%3ABlogPost%3A27420775&page=2#comments</a></span><br />
<span lang="EN-GB" style="font-size: 10pt; mso-ansi-language: EN-GB;"></span><br />
<span lang="EN-GB" style="font-size: 10pt; mso-ansi-language: EN-GB;">
</span><br />
<span lang="EN-GB" style="font-size: 10pt; mso-ansi-language: EN-GB;"></span><br />
<span lang="EN-GB" style="font-size: 10pt; mso-ansi-language: EN-GB;"><div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%;">Aan ProDemos<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%;">Hofweg 1-H<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%;"><span style="mso-spacerun: yes;"> </span>2511 AA Den Haag<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%;">Inzake: kennismakingsbezoek<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%;">Den Haag 10 augustus 2013.<o:p></o:p></span></div>
<br />
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%;">Geachte heren Kars Veling<span style="mso-spacerun: yes;">
</span>en Eddy Habben Jansen<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%;">Gaarne word ik door u uitgenodigd voor een
kennismakingsgesprek en om mijn onderzoek, en huidige Internationale Campagne
tegen de geschiedvervalsing met overgeschilderde, vervalste portretten van Oude
Meesters <span style="mso-spacerun: yes;"> </span>te bespreken. Ik verwacht dat
deze ergerlijke geschiedvervalsing zal stoppen. <o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%;">De Grondwetswijziging van 1848 betrof de emancipatie van de
witte Europeanen, de voormalige lijfeigenen en horigen. Daar dit alles 165 jaar
geleden speelde meen ik dat wij nu openheid kunnen hebben over wat er werkelijk
aan de hand was. En waarom men weliswaar begrijpelijk, maar zeer ten onrechte
beweerde dat de verf op de portretten donker was geworden. De gravures die
meteen van zulke schilderijen werden getrokken tonen de authentieke donkere
gelaatskleur, dus wilden de schilders donkere mensen afbeelden. Tevens kan men
lezen hoe deze personen eruit zagen voor hun tijdgenoten, die schreven dat ze
bruin en zwart van huid waren. <o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%;">Ik doe dus in feite een beroep op de integriteit van de
huidige beheerders en conservatoren om te stoppen met de geschiedvervalsing.
Mijn onderzoek verklaart een heleboel tegenstellingen en problemen, zoals
Pieter Baas die een heraldische Moor is, symbool van blauw bloed: die pas in
1848 aan het Sinterklaas feest werd toegevoegd. Waarmee het feest een initiatie
is geworden om witte kinderen bewust te maken van hun kleur, hun positie als
witte persoon en wie de ‘andere’ is.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%;">Ik kijk reikhalzend uit naar uw brief.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%;">Hoogachtend.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">Egmond Codfried<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">Conservator Suriname
Blue Blood Is Black Blood Museum<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">Eemstraat 36/ 2515 VS
Den Haag<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">Bluebloodisblackblood.blogspot.com<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<a href="mailto:Bluebloodisblackblood@hotmail.com"><span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;"><span style="color: blue;">Bluebloodisblackblood@hotmail.com</span></span></a><span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%;">Bijlage: 9 pagina’s portretten die de bruine en zwarte
huidkleur van de Europese elite mede-bewijzen.<o:p></o:p></span></div>
<o:p></o:p></span><br /></div>
<br />
<br />
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 11pt;">Aan de Gemeenteraad van Den
Haag<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 11pt;">cc. Gemeenteraadsfracties Groep
Okcuoglu, Groen Links, SP, VVD, CDA, Moslim Democraten<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 11pt;">Inzake: Ongewenste sociale
ontwikkelingen in Den Haag rond De Euthanasie religie, Prostitutie is
mensenhandel, Vervalste portretten in alle musea, Beveiligers die hun taak niet
begrijpen, Segregatie uitstraling van de Centrale Openbare Bibliotheek<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 11pt;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 11pt;">Den Haag, 6 augustus 2013.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 11pt;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 11pt;">De Euthanasie religie<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 11pt;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 11pt;">De nieuwe wettelijke
regelingen rond Euthanasie maken duidelijk dat het juridische aspect van de toestemming
van betrokkenen is losgelaten. Anderen kunnen nu beslissen voor een burger of
hij ge-euthanaseert moet worden of niet. Omdat sommige burgers die eerder een
euthanasie verklaring tekenden op basis van zoals het toen aan hen werd
uitgelegd, maar euthanasie weigerden toen de euthanasie autoriteit hen wilde
doden, kunnen wij stellen dat dit middel niet werkt. Tevens heeft een rechter
nu voorgesteld dat wij aan de rechter moeten vragen of in zulke gevallen
euthanasie voortgang moet hebben. Voor elke kenner van de geschiedenis zal dit
overkomen als wat de Duitse nazi’s deden toen zij van 1933-1945 aan de macht
waren. Voor ons vandaag gaat het om bezuiniging op ziektekosten en zorg. Bij
hen ging het, naast opruimen van ‘mensendieren’ die aten maar niet
produceerden; ook om raszuiverheid en rassenhygiene. Later werd uitroeiing van
Joden, Zwarten, Roma en Homo’s ook een doelstelling. De dagelijkse agitatie in
de media tegen allochtonen, samen met de aanvang van de euthanasie woede, doet
mij geloven dat Europa weer een holocaust aan het plannen is met allochtonen in
de rol van de voormalige Joodse Europeanen. De zieke en mismaakte burgers
werden toen, net als vandaag; zeer schrijnend aan het publiek getoond, terwijl
wij nu weten dat men toen de zaken sterk overdreef om zoveel mogelijk burgers
te kunnen vermoorden. De nazi’s hebben nooit precies hun moordplannen
aangekondigd, we weten van zaken pas achteraf, maar ze wisten wel mensen die
getuigden van het geweld en de moordpartijen succesvol het zwijgen op te
leggen. Nederland veroordeelde schrijver Heinz Lippman reeds in 1934 op verzoek
van Nazi Duitsland vanwege het schrijven van een documentaire roman Het
Vaderland over het geweld in de concentratiekampen (1934). Vanuit de media
krijg ik de impressie dat elke goede Nederlander vandaag geacht wordt voor
euthanasie te zijn, zoals het aan hen wordt voorgelegd, maar dat zij de
(historische) consequenties niet overzien. Zoals gewoonlijk houden de morele
leiders zich stil om hun subsidies niet in gevaar te brengen. Kortom,
euthanasie moet weer een privé-zaak tussen patiënt, dokter en familie worden en
er moeten beslist geen 31 euthanasie teams rondwaren als moordteams in Nederland.
<o:p></o:p></span></div>
<br />
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<span style="font-size: 11pt;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 11pt;">Prostitutie is mensenhandel<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 11pt;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 11pt;">Hoewel er meer dan genoeg
studies zijn, en de acties van de Gemeenten Utrecht en Amsterdam tegen
prostitutie, die bewijzen dat een groot deel van de prostituees met geweld en
chantage gedwongen worden zich te prostitueren en slachtoffer zijn van
mensenhandel; verbergt de politiek zich achter deze angstige en bedreigde
vrouwen die niet durven om hun ontvoerders, uitbuiters, chanteurs en beulen aan
te klagen. Gewone burgers staan blijkbaar onder zwaardere surveillance van de
staat voor mindere vergrijpen dan pooiers en mensenhandelaren. Ik stel voor dat
wij net als bij huiselijk geweld, justitie laten ingrijpen zonder dat het
slachtoffer aangifte hoeft te doen. Het is alsof Nederland nooit is opgehouden
met slavenhandel na 1863. Ondanks onzinnige overval acties stijgt het aantal
Chinese ‘massage’ salons in Den Haag, zodat Nederlandse mannen deze vrouwen
legaal kunnen verkrachten met de steun en zegen van de staat. De handel in
vrouwen beïnvloedt onze seksuele moraal en vergiftigt de relatie tussen mannen
en vrouwen. Tevens betreft het vaak buitenlandse en gekleurde vrouwen die men
hier massaal laat verkrachten.<o:p></o:p></span></div>
<br />
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<span style="font-size: 11pt;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 11pt;">Vervalste portretten in alle
musea<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 11pt;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 11pt;">Mijn onderzoek naar de
etniciteit van de Europese elite blauw bloed is zwart bloed (1100-1848) bewijst
dat de Europese elite (2-3% van de bevolking in de 18<sup>e</sup> en 19<sup>e</sup>
eeuw) bruin en zwart is gebleven tot wellicht 1880. Het betreft de eerste
Europeanen die 45.000 jaar eerder uit Afrika kwamen, en door onderlinge
huwelijken bruin en zwart bleven, en zich daarom verheven voelden boven de
witten die veel later uit Centraal Azië kwamen (vanaf 6000 vCh. En de meeste
rond 400 AD). Bij de Laatste Revoluties en onze Grondwetswijziging van 1848
werden hun onderdanen, de witte lijfeigenen en horigen, erkend als mensen en
kregen mannen in Frankrijk Algemeen kiesrecht. De revolutionaire regeringen
lieten de staatscollecties van oude meesters over schilderen met beige en roze
verf, terwijl de claim werd gemaakt dat de verf donker was geworden.
Persoonsbeschrijvingen leren echter dat de adellijke personen en regenten bruin
en zwart van huid waren en ook zo zijn afgebeeld. Gravures getrokken van
geschilderde portretten tonen nog steeds deze zwarte huid, die in 10% van de
gevallen gepaard ging met klassieke Afrikaanse gelaatskenmerken. Een foto van
De Staalmeesters (1662) door Rembrandt van 1880 en foto’s van de Van Aerssen
Collectie van 1934 tonen deze bruine en zwarte gezichten die men ten onrechte wegberedeneerde
als donker geworden verf. Dit is tegelijk een bevestiging dat de portretten
bruin en zwart oogden. Tegenwoordig is 61% van de Hagenaars van niet-westerse
origine en hebben wij veel burgers die bruin en zwart van huid zijn, en
handhaven onze museum directies deze 165 jaar oude geschiedvervalsing door
staatsracisme en zulks op onze eigen belastingbijdrage. Dat is hoogst verwerpelijk.
Alle oude meester portretten en genre stukken in alle musea zijn beige
overgeschilderde en het is nog steeds goed zichtbaar. De portretten moeten
natuurlijk hersteld worden in hun oude glorie.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 11pt;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 11pt;">Beveiligers die hun taak niet
begrijpen<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 11pt;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 11pt;">Zowel de Gemeente als de
Openbare Bibliotheken en de Koninklijke Bibliotheek maken gebruik van een privé
beveiligingsbedrijf waarvan sommige werkers een verkeerde, en overdreven
opvatting hebben van hun taak en mee willen besturen bij deze organisaties. In
Nederland en Europa zijn de vele bevolkingsgroepen die vervolgd (1933-1945) en
vermoord werden tijdens de WWII en nog steeds controversieel. Het schijnt dat
deze beveiligers op eigen initiatief de vervolging en discriminatie van deze categorieën
van <span style="mso-spacerun: yes;"> </span>burgers gaande houden, zonder dat
hun leiding dat beseft of er gevoelig voor is of hierop anticipeert door hen te
laten scholen. Burgers die deze instellingen bezoeken worden normaal behandeld
door het personeel, maar ondervinden dreiging van de beveiligers, en het
personeel schijnt onderhorig aan deze beveiligers. Alsof ze zichzelf als een
soort superpolitie beschouwen bekleedt met de hoogste macht in het land. Opvallend
is dat allochtone beveiligers worden gebruikt door hun autochtone collega’s om deze
discriminatie uit te voeren, zodat het slachtoffer niet kan klagen over
discriminatie. <o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 11pt;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 11pt;">Segregatie uitstraling van de
Centrale Openbare Bibliotheek<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 11pt;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 11pt;">Er is eerder vastgesteld dat
cultuursubsidies slechts aan de elite ten goede komen, terwijl zij rijk genoeg
zijn om hun eigen cultuurbeleving te bekostigen. Terwijl de rijken geen
belasting betalen monopoliseren zij de belastinginkomsten en geven zichzelf
subsidies. Zo schijnt de Openbare Bibliotheek in het centrum zich vooral te
richten tot de elite van de witte Hagenaars, en observeer ik een sterke
segregatie uitstraling zoals wij die kennen van Zuid Afrika. Een jaarlijks postkaarten
verkoop tentoonstelling van de Vrienden van Den Haag toont een Den Haag dat
etnisch gereinigd is van allochtonen en hun instellingen en monumenten. Een
jaarlijks uitgaans/sociale organisaties beurs presenteert alleen witte
organisaties en voelde ik mij weggekeken door de uitsluitend witte standhouders.
Het personeel van de bibliotheken, de ambtenaren; ogen en gedragen zich
grotendeels ‘klein burgerlijk’ en de meeste van hen worden wellicht niet
betrokken bij het bibliotheekbeleid. Jongeren en allochtonen in dienst van de
bibliotheek zijn blijkbaar onderhorig aan de oude, conservatieve werkers. In
het algemeen lijkt het alsof witte Nederlanders in een feodale hiërarchie
functioneren waar iedereen zijn plaats moet kennen en men dus niet open staat
voor overleg of representativiteit. Dat de bibliotheek en haar activiteiten een
uitstraling moeten zijn van alle soorten Hagenaars.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 11pt;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span lang="EN-GB" style="font-size: 11pt; mso-ansi-language: EN-GB;">Egmond Codfried/ Conservator Suriname Blue Blood Is Black Blood Museum<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 11pt;">Eemstraat 36/ 2515 VS Den
Haag/ <a href="http://bluebloodisblackblood.blogspot.nl/2013/03/international-campaign-against-massive.html">http://bluebloodisblackblood.blogspot.nl/2013/03/international-campaign-against-massive.html</a></span><br />
<span style="font-size: 11pt;"></span><br />
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%;">Aan ProDemos<o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%;">Hofweg 1-H<o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%;"><span style="mso-spacerun: yes;"> </span>2511 AA Den Haag<o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%;">Inzake: kennismakingsbezoek<o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%;">Den Haag 10 augustus 2013.<o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%;"><o:p> </o:p></span></div>
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</span><br />
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%;">Geachte heren Kars Veling <span style="mso-spacerun: yes;"> </span>en Eddy Habben Jansen<o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%;">Gaarne word ik door u uitgenodigd voor een
kennismakingsgesprek en om mijn onderzoek, en huidige Internationale Campagne
tegen de geschiedvervalsing met overgeschilderde, vervalste portretten van Oude
Meesters <span style="mso-spacerun: yes;"> </span>te bespreken. Ik verwacht dat
deze ergerlijke geschiedvervalsing zal stoppen. <o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%;">De Grondwetswijziging van 1848 betrof de emancipatie van de
witte Europeanen, de voormalige lijfeigenen en horigen. Daar dit alles 165 jaar
geleden speelde meen ik dat wij nu openheid kunnen hebben over wat er werkelijk
aan de hand was. En waarom men weliswaar begrijpelijk, maar zeer ten onrechte beweerde
dat de verf op de portretten donker was geworden. De gravures die meteen van
zulke schilderijen werden getrokken tonen de authentieke donkere gelaatskleur,
dus wilden de schilders donkere mensen afbeelden. Tevens kan men lezen hoe deze
personen eruit zagen voor hun tijdgenoten, die schreven dat ze bruin en zwart
van huid waren. <o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%;">Ik doe dus in feite een beroep op de integriteit van de
huidige beheerders en conservatoren om te stoppen met de geschiedvervalsing. Mijn
onderzoek verklaart een heleboel tegenstellingen en problemen, zoals Pieter
Baas die een heraldische Moor is, symbool van blauw bloed: die pas in 1848 aan
het Sinterklaas feest werd toegevoegd. Waarmee het feest een initiatie is
geworden om witte kinderen bewust te maken van hun kleur, hun positie als witte
persoon en wie de ‘andere’ is.<o:p></o:p></span></div>
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</span><br />
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%;">Ik kijk reikhalzend uit naar uw brief.<o:p></o:p></span></div>
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%;">Hoogachtend.<o:p></o:p></span></div>
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</span><br />
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">Egmond Codfried<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">Conservator Suriname
Blue Blood Is Black Blood Museum<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">Eemstraat 36/ 2515 VS
Den Haag<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;">Bluebloodisblackblood.blogspot.com<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US;"><a href="mailto:Bluebloodisblackblood@hotmail.com"><span style="color: blue;">Bluebloodisblackblood@hotmail.com</span></a><o:p></o:p></span></div>
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</span><br />
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%;">Bijlage: 9 pagina’s portretten die de bruine en zwarte
huidkleur van de Europese elite mede-bewijzen.</span><br />
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<span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%;"><o:p></o:p></span> </div>
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Egmond Codfriedhttp://www.blogger.com/profile/10597005835134961469noreply@blogger.com0tag:blogger.com,1999:blog-1401624891557825179.post-62545964688699283392013-08-06T09:20:00.001-07:002013-08-08T10:39:34.990-07:00<h2>
AN ESSAY ON SOURCES FOR THE BLUE BLOOD RESEARCH</h2>
<br />
6 AUGUST 2013<br />
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<h2>
</h2>
<h2>
AN ESSAY ON SOURCES FOR THE
BLUE BLOOD RESEARCH<o:p></o:p></h2>
<br />
6 AUGUST 2013<o:p></o:p><br />
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<o:p> </o:p></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">Many persons
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. <o:p></o:p></span></span></div>
<br />
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">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. <o:p></o:p></span></span></div>
<br />
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">Whites are descendants
<span style="mso-spacerun: yes;"> </span>of <span style="mso-spacerun: yes;"> </span>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.<o:p></o:p></span></span></div>
<br />
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;"><span style="mso-spacerun: yes;"> </span>I do not think Blacks are superior, it’s just
that they were the first, so they peopled the whole world and <span style="mso-spacerun: yes;"> </span>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
latecomers. <o:p></o:p></span></span></div>
<br />
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">From my
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. <o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">The invention
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 <span style="mso-spacerun: yes;"> </span>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? <o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">Apes were
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? <o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">From
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.<o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">Another important
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. <o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><o:p> </o:p></span></div>
<br />
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">This
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. <span style="mso-spacerun: yes;"> </span>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.’<span style="mso-spacerun: yes;"> </span>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
since 1848. <o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><o:p> </o:p></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">Egmond
Codfried</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDOkykr1RA73SnVxvIS6l3ATZzBvzLyCVQ9sJH8ZPSTy8VBprwdv9q5l79an2RohgR7Xc3urQpIx9gBweP8QgRDg8aPHXRLrsxzj45td5or3UPXoG53kmEtlH9V3I_zbrW7g8BQPO7pbF6/s1600/Reynolds_Sir_Joshua-Lady_Elizabeth_Keppel_detail.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDOkykr1RA73SnVxvIS6l3ATZzBvzLyCVQ9sJH8ZPSTy8VBprwdv9q5l79an2RohgR7Xc3urQpIx9gBweP8QgRDg8aPHXRLrsxzj45td5or3UPXoG53kmEtlH9V3I_zbrW7g8BQPO7pbF6/s320/Reynolds_Sir_Joshua-Lady_Elizabeth_Keppel_detail.jpg" width="262" /></a> <img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjE-RgL8IbL5gtl_5txOvDln3DMf856iYP2pf238cLyBiF3cLylP682_Em1ZIeA2KKant0QnzKLxRp6cAuJQHb8X1MlWHStVIlYZFZ20M-aJ2PKKHnZsNtzkQ2_7CQiL6HKfrrq2P_iPUXv/s320/GeorgeKeppelofAlbemarlegravure.jpg" width="231" /></div>
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Detail Sir Joshua Reynolds, Elizabeth Keppel. De Moorress symbolises high nobility, or blue blood, and Black Supremacy.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuYgcWVU0Zde_q5gtS1-F-5C6piiYA78jtvEnQKnB67oM3wjPrYJ_yMlx7JsD8WRq-WO7MJlxYAqH9KuxhZkAEKgKUTuATLXEQ74Gqq4wGPbwq9f2qXtCcRUSB_m91F9-wti2NhmAc9u3s/s1600/aarnoldjoostkeppel,+1e+earl+of+albemarle.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuYgcWVU0Zde_q5gtS1-F-5C6piiYA78jtvEnQKnB67oM3wjPrYJ_yMlx7JsD8WRq-WO7MJlxYAqH9KuxhZkAEKgKUTuATLXEQ74Gqq4wGPbwq9f2qXtCcRUSB_m91F9-wti2NhmAc9u3s/s1600/aarnoldjoostkeppel,+1e+earl+of+albemarle.jpg" /></a></div>
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Aanoud Joost Keppel, grandfather of Aarnood Joost van Der Duyn van Maasdam, and grandfather of the grandmother of George Keppel. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKwNDAnVYZ9cS-4n6uUFDw1625tpV_ZC4l5tuA7EQ79Kh4UXX13UdQ_BnSoP8rChL4EcSe5MAgUEfDC2qTUB0-0PjQIJS2Atu4e4VycKpr1rkkdcyNr8Od1pR7UhflKhyphenhypheng0E-b-1j6r8MU/s1600/aarnoudjosstvanderduynvan+maasdam.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKwNDAnVYZ9cS-4n6uUFDw1625tpV_ZC4l5tuA7EQ79Kh4UXX13UdQ_BnSoP8rChL4EcSe5MAgUEfDC2qTUB0-0PjQIJS2Atu4e4VycKpr1rkkdcyNr8Od1pR7UhflKhyphenhypheng0E-b-1j6r8MU/s1600/aarnoudjosstvanderduynvan+maasdam.jpg" /></a></div>
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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.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHRImOxMHZ_Hm4m9moEbTo3YY63wuR8e0wA_is2oECPgwSaAsZy_esKT66az4bLr4oUFLVDgDxMOcCtfAvCopqiPG5ltrT-T8VOyJxlZwTbI2f7RihfjV22itdC2wRMKThcc0715_CyHt0/s1600/adamfrancoisjulesvan+der+duyn.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHRImOxMHZ_Hm4m9moEbTo3YY63wuR8e0wA_is2oECPgwSaAsZy_esKT66az4bLr4oUFLVDgDxMOcCtfAvCopqiPG5ltrT-T8VOyJxlZwTbI2f7RihfjV22itdC2wRMKThcc0715_CyHt0/s1600/adamfrancoisjulesvan+der+duyn.jpg" /></a></div>
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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.</div>
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Elizabeth Keppel by Reynolds, with a heraldic Mooress that symbolises nobility. Elizabeth was closer in look to the Moorress than the whitened portrait suggests.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqy1v9T6jSsqs4JVx8eTVCqnA1v3LjlF_wev2LRzYBNmgVYWsh5yNQUy-HbF31XDJpluJJvdJJHviLLPy6RfP6nEgLk2VVbudO8lXjWS0m98lJbjRgM1qMv8UHnkeOZPJl74aEi8ma5paU/s1600/george+keppel.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqy1v9T6jSsqs4JVx8eTVCqnA1v3LjlF_wev2LRzYBNmgVYWsh5yNQUy-HbF31XDJpluJJvdJJHviLLPy6RfP6nEgLk2VVbudO8lXjWS0m98lJbjRgM1qMv8UHnkeOZPJl74aEi8ma5paU/s1600/george+keppel.jpg" /></a></div>
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George Keppel by Francis Cotes (1764), Earl of Albemarle. A whitened portrait.</div>
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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)</div>
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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.</div>
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GEORGE KEPPEL OR THE
WHITENING OF BROWN AND BLACK NOBLES AFTER 1848<o:p></o:p></h2>
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</span><span style="font-size: 8pt; line-height: 115%;"><a href="http://api.ning.com/files/fnZlPrzt3cHqBDOL-BNc-A2gOBE9PnuZd0Cq2M6rQ8UrejlG*Lx-kgLLqdrIS1SKtRRVbYKi97A-*wrpvWfBzQdB5RHaOVBZ/GeorgeKeppelofAlbemarle.jpg"><span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="color: blue;">http://api.ning.com/files/fnZlPrzt3cHqBDOL-BNc-A2gOBE9PnuZd0Cq2M6rQ8UrejlG*Lx-kgLLqdrIS1SKtRRVbYKi97A-*wrpvWfBzQdB5RHaOVBZ/GeorgeKeppelofAlbemarle.jpg</span></span></a></span><span lang="EN-US" style="font-size: 8pt; line-height: 115%; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;">[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<span style="mso-spacerun: yes;"> </span>‘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.<span style="mso-spacerun: yes;"> </span>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.<o:p></o:p></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;">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.</span><span lang="EN-US" style="font-size: 8pt; line-height: 115%; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 8pt; line-height: 115%; mso-ansi-language: EN-US;">[</span><span lang="EN-US" style="mso-ansi-language: EN-US;">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.</span><span lang="EN-US" style="font-size: 8pt; line-height: 115%; mso-ansi-language: EN-US;"> </span><span lang="EN-US" style="mso-ansi-language: EN-US;">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.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span lang="EN-US" style="font-size: 8pt; line-height: 115%; mso-ansi-language: EN-US;">George Keppel</span></u></b><span lang="EN-US" style="font-size: 8pt; line-height: 115%; mso-ansi-language: EN-US;">, 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. </span><span style="font-size: 8pt; line-height: 115%;">Historici.nl: </span><u><span style="font-family: "Helvetica","sans-serif"; font-size: 8pt; line-height: 115%; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">DUYN</span></u><u><span style="font-family: "Helvetica","sans-serif"; font-size: 8pt; line-height: 115%; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;"> (Aarnout Joost van der),</span></u><span style="font-family: "Helvetica","sans-serif"; font-size: 8pt; line-height: 115%; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;"> 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.</span><span style="font-size: 8pt; line-height: 115%;"> </span><span style="font-family: "Helvetica","sans-serif"; font-size: 8pt; line-height: 115%; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">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)</span><span lang="EN-US" style="mso-ansi-language: EN-US;"><o:p></o:p></span></div>
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<div align="center" class="MsoNormal" style="margin: 0cm 0cm 10pt; text-align: center;">
<span lang="FR" style="font-size: 8pt; line-height: 115%; mso-ansi-language: FR;">C.P. Courtney:
Isabelle de Charrière (Belle de Zuylen). </span><span lang="EN-US" style="font-size: 8pt; line-height: 115%; mso-ansi-language: EN-US;">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)<o:p></o:p></span></div>
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Egmond Codfriedhttp://www.blogger.com/profile/10597005835134961469noreply@blogger.com0tag:blogger.com,1999:blog-1401624891557825179.post-34646818120645409792013-08-06T08:01:00.002-07:002013-08-08T10:39:55.393-07:00HOME PAGE/ CONTENTS<h2>
6 AUGUST 2013</h2>
<h2>
</h2>
<h2>
STATS:</h2>
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<b><span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">Item<o:p></o:p></span></b></div>
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<b><span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">Pageviews<o:p></o:p></span></b></div>
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<td style="background-color: transparent; border: rgb(0, 0, 0); padding: 0.75pt;"><div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 10pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">Verenigde
Staten<o:p></o:p></span></div>
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<td style="background-color: transparent; border: rgb(0, 0, 0); padding: 0.75pt;"><div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">136<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">Oekraïne<o:p></o:p></span></div>
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<td style="background-color: transparent; border: rgb(0, 0, 0); padding: 0.75pt;"><div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">47<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">Nederland<o:p></o:p></span></div>
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<td style="background-color: transparent; border: rgb(0, 0, 0); padding: 0.75pt;"><div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">40<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">China<o:p></o:p></span></div>
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<td style="background-color: transparent; border: rgb(0, 0, 0); padding: 0.75pt;"><div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">15<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">Polen<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">12<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">Verenigd
Koninkrijk<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">10<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">Duitsland<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">6<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">Frankrijk<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">6<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">Canada<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">4<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">Rusland<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">4<o:p></o:p></span></div>
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<o:p><span style="font-family: Calibri;"> </span></o:p></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">Pageviews
vandaag<o:p></o:p></span></div>
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<td style="background-color: transparent; border: rgb(0, 0, 0); padding: 0cm;" valign="top"><div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">43<o:p></o:p></span></div>
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<span style="display: none; font-family: "Times New Roman","serif"; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL; mso-hide: all;"><o:p> </o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">Pageviews
gisteren<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">52<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">Pageviews
vorige maand<o:p></o:p></span></div>
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<td style="background-color: transparent; border: rgb(0, 0, 0); padding: 0cm;" valign="top"><div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">2.059<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">Pageviews
geschiedenis<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">26.456</span><br />
<span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;"></span><br />
<span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;">=======================================================</span><br />
<br />
<span class="title">WERE THE GREEK AND ROMAN CIVILIZATIONS BLACK CIVILIZATIONS?</span><br />
<span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;"></span><br />
<span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;"></span><br />
<span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;"> POLITIEKE COMMENTAREN/ BRIEVEN AAN INSTANTIES EN PERSONEN</span><br />
<span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;"></span><br />
<span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;"></span><br />
<span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;"></span><br />
<span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;"></span><br />
<span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: NL;"><div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<o:p><span style="font-family: Calibri;">AN ESSAY ON SOURCES FOR THE BLUE BLOOD RESEARCH</span></o:p></div>
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<span style="font-family: Calibri;">REVIEWS<o:p></o:p></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">Lezingen
cyclus Suriname Blue Blood Museum<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
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<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">WILL THERE
BE ANOTHER HOLOCAUST IN EUROPE AGAINST ...<o:p></o:p></span></span></div>
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<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">PORTRAITS
OF THE BROWN AND BLACK COMPLEXIONED, BLA... <o:p></o:p></span></span></div>
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<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">ALL OLD
MASTER PORTRAITS ARE OVER PAINTS <o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: Calibri;">De verstopte portretten van de gekleurde regentenfamilie Van
Goor<o:p></o:p></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">UN-RETOUCHED
PORTRAITS OF THE VAN AERSSEN-VAN BEYEREN FAMILY<o:p></o:p></span></span></div>
<br />
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">SCIENTIFIC
FRAUD AND THE UPCOMING HUYGENS-EXHIBITION<o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">INTERNATIONAL
CAMPAIGN AGAINST MASSIVE SCIENTIFIC FRAUDE<o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">NEW IMAGES
THAT WERE AT THE BASE OF THE BLUE BLOOD RESEARCH<o:p></o:p></span></span></div>
<br />
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">IMPORTANT
FIRST IMAGES FOR THE BLUE BLOOD THEORY<o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">SURINAME
BLUE BLOOD IS BLACK BLOOD MUSEUM<o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">adel,
african caucasian, anton de kom, black caucasian, black dutch, black history,
black nobility, blue blood, charles II stuart, charlotte sophie of Mecklenburg
Strelitz<o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">BADAL, OR
THE SUICIDE OF A REFORMED HOUSENIGGER<o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: Calibri;">THE OTHER VINCENT VAN GOGH<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: Calibri;">European Blacks, Family de Groot, Nuenen, Vincent van Gogh<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: Calibri;">NAKOMELINGEN VAN PRINS MAURITS IN SURINAME <o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: Calibri;">familie spreeuw, prins maurits van oranje, surinaamse
genealogie<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">TORTURE BY
A REFRIGERATED POLICE CELL<o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">netherland
police, police torture, refrigerated police cell, torture<o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">EXHIBITION
PANELS BLUE BLOOD IS BLACK BLOOD<o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: Calibri;">BLACK DUTCH<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">George
Keppel Earl of Albemarle, Henriette Maria de Bourbon, Kurfurst Moritz van
Sachsen, Willem I van Oranje<o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">WERE THERE
EVER ANY BLACK VIKINGS?<o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: Calibri;">DE PORTRETTEN VAN DE FAMILIE VAN GOOR<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: Calibri;">cornelis van goor, helana jacoba de viqc, Isabelle de
Charriere, Maria Jacoba van goor, slot zuylen, tuyll van serooskerken<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: Calibri;">WAREN DE SURINAAMSE GOUVERNEURS EN PLANTERS BRUIN EN ZWART
VAN GEZICHT?<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: Calibri;">J.J.Mauricius, Jacob van der Werff, Johanna Margaretha de
bruyn, maria susanna du plessis, suriname<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="FR" style="mso-ansi-language: FR;"><span style="font-family: Calibri;">L’histoire cachée
des noirs et métis dans la noble...<o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="FR" style="mso-ansi-language: FR;"><o:p><span style="font-family: Calibri;"> </span></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<o:p><span style="font-family: Calibri;"> </span></o:p></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<o:p><span style="font-family: Calibri;"> </span></o:p></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<o:p><span style="font-family: Calibri;"> </span></o:p></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<o:p><span style="font-family: Calibri;"> </span></o:p></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: Calibri;">REVIEWS<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">Lezingen
cyclus Suriname Blue Blood Museum<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">WILL THERE
BE ANOTHER HOLOCAUST IN EUROPE AGAINST ...<o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">PORTRAITS
OF THE BROWN AND BLACK COMPLEXIONED, BLA... <o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">ALL OLD
MASTER PORTRAITS ARE OVER PAINTS <o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: Calibri;">De verstopte portretten van de gekleurde regentenfamilie Van
Goor<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">UN-RETOUCHED
PORTRAITS OF THE VAN AERSSEN-VAN BEYEREN FAMILY<o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">SCIENTIFIC
FRAUD AND THE UPCOMING HUYGENS-EXHIBITION<o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">INTERNATIONAL
CAMPAIGN AGAINST MASSIVE SCIENTIFIC FRAUDE<o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">NEW IMAGES
THAT WERE AT THE BASE OF THE BLUE BLOOD RESEARCH<o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">IMPORTANT
FIRST IMAGES FOR THE BLUE BLOOD THEORY<o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">SURINAME
BLUE BLOOD IS BLACK BLOOD MUSEUM<o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">adel,
african caucasian, anton de kom, black caucasian, black dutch, black history,
black nobility, blue blood, charles II stuart, charlotte sophie of Mecklenburg
Strelitz<o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">BADAL, OR
THE SUICIDE OF A REFORMED HOUSENIGGER<o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: Calibri;">THE OTHER VINCENT VAN GOGH<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: Calibri;">European Blacks, Family de Groot, Nuenen, Vincent van Gogh<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: Calibri;">NAKOMELINGEN VAN PRINS MAURITS IN SURINAME <o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: Calibri;">familie spreeuw, prins maurits van oranje, surinaamse
genealogie<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">TORTURE BY
A REFRIGERATED POLICE CELL<o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">netherland
police, police torture, refrigerated police cell, torture<o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">EXHIBITION
PANELS BLUE BLOOD IS BLACK BLOOD<o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: Calibri;">BLACK DUTCH<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">George
Keppel Earl of Albemarle, Henriette Maria de Bourbon, Kurfurst Moritz van
Sachsen, Willem I van Oranje<o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">WERE THERE
EVER ANY BLACK VIKINGS?<o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: Calibri;">DE PORTRETTEN VAN DE FAMILIE VAN GOOR<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: Calibri;">cornelis van goor, helana jacoba de viqc, Isabelle de
Charriere, Maria Jacoba van goor, slot zuylen, tuyll van serooskerken<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: Calibri;">WAREN DE SURINAAMSE GOUVERNEURS EN PLANTERS BRUIN EN ZWART
VAN GEZICHT?<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: Calibri;">J.J.Mauricius, Jacob van der Werff, Johanna Margaretha de
bruyn, maria susanna du plessis, suriname<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="FR" style="mso-ansi-language: FR;"><span style="font-family: Calibri;">L’histoire cachée
des noirs et métis dans la noble...<o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="FR" style="mso-ansi-language: FR;"><o:p><span style="font-family: Calibri;"> </span></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<o:p><span style="font-family: Calibri;"> </span></o:p></div>
<o:p></o:p></span><br /></div>
</td>
</tr>
</tbody></table>
Egmond Codfriedhttp://www.blogger.com/profile/10597005835134961469noreply@blogger.com0tag:blogger.com,1999:blog-1401624891557825179.post-32089081324738219772013-07-27T05:41:00.001-07:002013-08-12T05:33:41.273-07:00REVIEWS<table border="0" style="width: 100%px;">
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<h2 style="font-size: 100%; margin-bottom: 0px; margin-top: 0px; padding-bottom: 0px; padding-top: 0px;">
DE ZWARTE LORD<!-- google_ad_section_end --></h2>
<span style="font-family: Verdana; font-size: medium;">
</span><span style="font-family: Verdana; font-size: x-small;">July 27 2013 at 2:27 PM<span style="font-family: Verdana; font-size: x-small;"><br /><i>No score
for this post</i></span></span></td>
<td align="right" valign="top"><h2>
DE ZWARTE LORD<noscript></noscript></h2>
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<span style="font-family: Verdana; font-size: x-small;"><div class="intelliTxt KonaBody">
<!-- google_ad_section_start -->Recensie:<br />
<br />
DE
ZWARTE LORD<br />
<br />
<br />
Een zeer verdienstelijke debuutroman van Rihana Jamaludin
(Paramaribo 1959) van 525 bladzijden, inclusief bijlage en verklarende woorden-
en begrippenlijst. Deze uitbundige historische roman die zich deels in Nederland
en voor de rest in Suriname voltrekt, speelt rond het revolutionaire jaar van
1848. Door zijn benadering vormt dit werk een aanzet tot een vernieuwende en
eigen postkoloniale, Surinaamse historische roman. Ondanks de titel gaat het
boek over Regina Winter, een Brabantse gouvernante die naar Suriname gaat om een
jonge plantage eigenaar, die als bijnaam heeft De Zwarte Lord, onderricht te
geven. In een jaar maakt Regina zoveel mee, ze is deel van of getuige van zoveel
bewegingen en incidenten die verbonden zijn met de Surinaamse geschiedenis, dat
zij totaal veranderd is. Van een wat nuffig, kleurloos en benepen Nederlandse is
ze een warmbloedige, levenslustige Surinaamse geworden. Ze heeft in zekere zin
haar roots gevonden, of eerder bevochten, om de persoon te worden die ze moest
zijn. Dit is een heel goed doordacht werk want op een metaniveau personifieert
Regina Winter Suriname.<br />
<br />
Het betreft ook een veelomvattend werk, Jamaludin
heeft veel over te dragen. Ze richt zich, als product van de diaspora, niet tot
de Surinaamse lezer, maar tracht de Nederlanders een beeld te geven van de
Surinaamse geschiedenis, de overweldigende natuur, de Surinaamse beschaving, de
kleurrijke cultuur, de vele talen, religies en de vele etniciteiten die samen
met elkaar Suriname vormen. Misschien dat Nederlanders kunnen begrijpen hoe
vreemd en uiterst negatief en nutteloos hun huidige xenofobische campagne op
Surinamers overkomt. Hoewel Nederland als koloniserende entiteit en geoliede
veroveringsmachine niet met Suriname te vergelijken is. Het boek vormt daartoe
een mix van reisgids, geschiedenis boek, filosofische gesprekken, een
verhandeling over flora en fauna, een liefdesverhaal en een aanklacht tegen
koloniale onderdrukking en exploitatie van slaven en arbeiders. De
revolutionaire gebeurtenissen, de neergang van de adel en de volksopstanden in
het roerige Europa vinden hoe dan ook hun weerslag in Suriname, wat zeer tegen
de wensen van de koloniale overheerser ingaat volgens Jamaludin’s gepresenteerde
visie op Suriname. Deze benadering is in mijn persoonlijke beleving, als
historische onderzoeker en schrijver, de grootste verdienste van Jamaludin en
schept een band met een leeftijdsgenoot. Ze gebruikt veel verhaallijnen met veel
bijpersonages die op het eind krachtig en dynamisch samenkomen in een toneelstuk
en een rechtszaak tegen de toneelgroep. Het einde van de roman is pure
virtuositeit van de schrijfster en deed mij denken aan de ademloos spannende
boeken over solidariteit ondanks levensgevaar, onderduiken en vluchten tijdens
de periode 1940-1945 die ik las als bronnen voor mijn essay Komt er weer een
Holocaust? (2010).<br />
<br />
Ik moest dit boek lezen, dus dwong ik mezelf door het
kleurloze begin te ploeteren, welke op geen enkele manier een voorspelling
inhield van het mooie wat zou komen. Intensieve research maakt een Surinaamse
nog niet tot een Nederlandse, dus is Jamaludin in het begin niet erg
overtuigend, maar geforceerd. Pas in Suriname is zij in haar element en krijgt
zij vleugels en raakt duidelijk opgewonden door haar materiaal, waar door er een
functioneel contrast optreedt met de koudheid, de benepen ambities, het
obsessieve standsbewustzijn, de verstikkende seksuele moraal en berekening van
Regina in Nederland. Helaas is de schrijfster te vaak aan het vertellen, in
plaats van door handeling haar verhaal door de lezer zelf te laten verbeelden.
Show, don’t tell of ‘t doen gaat voor het zeggen, zoals de 17e eeuwse zwarte
schouwburg regent Jan Vos (1610-1667) de gouden regel verwoordde. Verder
gebruikt ze te veel abstracties die de vertelling als een beoogde continue droom
in de gedachte van de lezer verstoren. Hierdoor blijkt dat ze zich soms
onvoldoende in details of teveel in de onnodige details heeft ingeleefd. Details
die daarom verder ook niet ter zake doen en even goed geschrapt kunnen worden
omdat er ook weinig bruikbare informatie uit volgt. Enkele clichés zoals
weerbarstige krullen, hoewel deze soms verkiesbaar zijn boven vreemde vondsten
die door hun geforceerdheid weer kunnen afleiden. Regina is de verteller, maar
ze weet dingen die de eerste persoon verteller niet kan weten, waardoor de
verteller soms als een geschiedenisboek en toeristische gids klinkt. Deze
informatie, zoals een uitgebreid verslag over de zeeschildpadden van Galibi, is
vaak losgekoppeld van de handeling en draagt niet bij aan de plot. Verder stoor
ik mij altijd aan schrijfsters die wat ik de vrouwelijke seksuele mystiek
doctrine noem, aanhangen. Ook omdat ik vermoed dat de schrijfsters zich teveel
zorgen maken om hun eigen seksuele reputatie. Alsof zij, ondanks hun
intellectualiteit zich niet hebben vrijgemaakt van hun tweederangspositie als
vrouw en dus kuis moeten zijn. Zij lijken juist hun lezers te bevestigen in de
algemene sociale hypocrisie en de onderworpenheid van vrouwen aan de dubbele
moraal propageren. Wat ik wel erg mooi vond is de verandering in stijl als
andere personages hun eigen verhaal in monoloogvorm afsteken, waardoor het
perspectief voor even verandert en monotonie wordt vermeden. Ook de
theaterteksten vind ik prachtig in hun subtiliteit en zeer effectief
toegepast.<br />
<br />
De plot is opgehangen aan de mysterieuze zwarte lord, maar de
intrige rond deze zwarte slavenhouder is niet altijd geloofwaardig of doorleefd
en soms zelf potsierlijk. Ook omdat de echte belangrijke gebeurtenissen die het
verhaal voortjagen spelen rond de bijpersonages en niet de hoofdfiguren. Die
blijven toeschouwers die de keus hebben om weg te lopen. Dit ervaar ik als het
grootste gebrek aan dit zeer waardevol werk. Het is erg jammer dat het politieke
verzet en het experimenteren met nieuwe sociale en politieke verhoudingen niet
centraal staan in de ontwikkelingen van het hoofdpersonage. Regina Winters spuit
revolutionaire ideeën, maar leeft ze niet uit. Ze kan zich zodoende steeds
onttrekken aan de gevolgen, claimt soms dronkenschap als verklaring voor een
uitspatting, waardoor haar uiteindelijke marginale verandering voor de kritische
lezer onbevredigend is. Ze heeft zich aangepast aan een ongewenste situatie en
een ongewenst economisch systeem van slavernij. Dus in feite een pessimistische
boodschap, omdat ze zover heeft gereisd en zoveel meemaakt en zoveel tranen
vergoten zonder een wezenlijke verandering te ondergaan. Regina als de
personificatie van de geschiedenis van Suriname?<br />
<br />
Wij kijken echter naar
een aanzet tot een nieuwe soort van Surinaamse roman die zich minder houdt aan
de smalle kaders van de opgelegde, kolonialistische historiografie en laat zien
dat Suriname minder geïsoleerd en ongeïnformeerd zou zijn als de vroegere
schrijvers beweren. Een feit dat mijn historische onderzoeken bevestigen. Ook de
Nederlandse commentaren op dit werk illustreren dat de Nederlanders een remmende
werking uitoefenen op de ontwikkeling van de Surinaamse literatuur. Zij zijn nog
steeds Suriname aan het ontdekken en zijn zich nog steeds aan het verwonderen
over de zaken over zichzelf die Surinamers alle in geuren en kleuren kennen of
dat Surinamers ook zelf romans schrijven. De nieuwe Surinaamse auteur gebruikt
het verleden om iets over vandaag, iets dat Surinamers aangaat, te verklaren. En
als een virtueel laboratorium om een gewenste verandering te visualiseren.
Waarom Surinaamse schrijvers en schrijvers in het verleden en heden gehaat
worden door plaatselijke en buitenlandse politieke elites. <br />
<br />
De
historische romanvorm leent zich meer voor ongebreidelde, realistische politieke
fantasie dan een verhaal dat zich in het heden afspeelt. Het heden is beter
bekend bij de lezer, dus is de schrijver beperkt in zijn uitwerking van ideeën.
Een historische evaluatie kan pas achteraf, maar kan ook als een vorm van een
kritiek of een satire opgevat worden van wat vandaag gebeurd. De onderdrukkende
staat houdt daarom graag een monopoly op de historiografie en haasten behoudende
krachten zich om het publiek te waarschuwen voor fictie. Een roman is per
definitie fictie, maar vaak onmisbaar om de lacunes tussen de historische
bronnen te vullen om historische personen tot leven te brengen, om hun
innerlijke motieven te kunnen onderzoeken. Zelf autobiografieën kunnen een
vervalst beeld geven van deze personen.<br />
<br />
Bij Jamaludin bespeur ik toch een
tweestrijd om twee meesters te dienen, inplaats van onbevreesd te kiezen voor
een helemaal vrije en anti-kolonialistische benadering. Omdat ik mij verdiept
heb in de eerste, oorspronkelijke Cabale, wat in feite een Republikeinse
Surinaamse beweging was die tussen 1743-1753 Suriname onafhankelijk probeerde te
maken, en er een studie, een romanmanuscript en een toneelstuk over schreef,
begrijp ik niet waarom de auteur de Cabale als iets afzonderlijks en iets
negatiefs beschreef. Ik herken een bron die zij letterlijk citeert wanneer
Regina stelt dat latere, opeenvolgende gouverneurs ook geconfronteerd werden met
een Cabale. Dat betreft overigens één van de beweringen waar de ik-verteller,
correct toegepast, geen weet van kon hebben zonder een glazen bol. De
protestbewegingen in haar boek zouden de Cabale moeten vormen, een beweging
binnen de rijkste en gesurinamiseerde families, in plaats als een korte
verwijzing naar een negatieve beweging. Hiermee speelt zij in tegenstelling tot
haar eerdere stellingneming juist de koloniale beeldvorming onterecht in de
kaart.<br />
<br />
Storend vond ik het verkeerde gebruik van de titel Gran Masra,
Grootmeester voor een nederige directeur, terwijl dit de grandioze
aanspreektitel was van de schatrijke Administrateurs, de machtige politici die
naast hun eigen extensief plantage bezit, ook meerdere plantages en
slavenmachten beheerden. Ik had graag meer details over 19e eeuwse kleding en
gebruiksvoorwerpen of meubels gezien, omdat ‘vroeger’ voor veel Surinamers
slechts één brei is zonder kennis van ideeën, stijlen en neostijlen. Dat
Jamaludin zich nationalistisch toont maar de slaven geen stem geeft, is conform
de kolonialistische geschiedvervalsing. Terwijl ze wel een stem hadden. Arme,
ongeletterde mensen kunnen hun situatie heel goed verwoorden, hoewel niet altijd
gehoord door hun onderdrukkers. Alsof de schrijfster zich opnieuw niet voldoende
heeft ingeleefd. Dit is extra pijnlijk omdat tot vandaag Surinamers, de
afstammelingen van slaven en contractarbeiders, vandaag in Nederland nog steeds
geen stem hebben. Surinaamse schrijvers worden op neokolonialistische wijze door
Nederland geselecteerd, kostenbesparend uitgegeven, besproken en beperkt
gepromoot als tweederangs literatuur. Daarom zijn Marokkaanse en Pakistaanse
auteurs in Nederland vrijwel alleen die jonge, knappe vrouwen die schrijven hoe
verschrikkelijk de Marokkaanse of Pakistaanse cultuur is. Precies wat de
Nederlanders over moslims willen horen.<br />
<br />
Het bedenken van een plot en
intrige zijn moeilijke dingen en men moet soms zijn toevlucht nemen tot haast
onmogelijke zaken. Dat geef ik toe en ik bewonder Jamaludins prestaties. Maar om
een kleurlinge op te voeren die niet te onderscheiden zou zijn van andere
witten, gaat mij toch te ver. Het klinkt als de rechtszaken rond de overtreding
van Amerikaanse one-drop-rule waar zwarten zich uitgeven voor witten en trouwen
met witten waar hen dat expliciet is verboden. Waar rechtsjury’s zich moesten
buigen over het probleem of deze persoon zwart is, en of de ‘bedrogen’ partner
dat had kunnen weten, of een schadevergoeding verdient. Een veronderstelde
zwarte wetsovertreder moest zelf haar geslachtsdelen aan de jury tonen, want
daar blijft bij gemengde zwarten de zwarte kleur het langst. Dat soort drama’s
zijn allang ontmaskerd als pogingen om zwarten en witten in het gareel te houden
en zwartheid als een ernstige besmettelijke aandoening te presenteren. Wat mij
daarom ook erg stoort in deze roman is de suggestie dat zwarten pas mooi zijn
als ze gemengd zijn en witte voorouders hebben. Tegelijk praat de schrijfster
ook een beetje over Black History, dat zwarten wel degelijk een hoge beschaving
hadden vóór de Europeanen Afrika aandeden. Het lijkt mij dat het vooral over
Black History zou moeten gaan, als wij een eigen, postkoloniale Surinaamse
literatuur nastreven.<br />
<br />
De actrice die in 2000 in mijn historisch
toneelstuk speelde was een blonde, witte Nederlandse. Intussen beschouw ik het
personage van Maria Susanna Du Plessis (1739-1795) als een zwarte Surinaams
Europese. Ook vanwege een portret van haar neefje met sterke Afrikaanse
gelaatstrekken en het feit dat haar tweede echtgenoot gekleurd was. Het betrof
kolonisten die vanwege hun zwarte en gekleurde etniciteit tot de Europese elite
behoorden. Blauw bloed is zwart bloed (1500-1789), en was de identiteit van de
Europeanen die afstamden van de oorspronkelijke Europeanen, die uit Afrika
kwamen en onderling huwden, ter behoud van kleur. In 1500-1789 heerste het
Ancien Regime, welke zich identificeerde met de Moor, een klassieke Afrikaan, op
adellijke portretten, in familie wapens, familie- en geografische namen. Ze
waren ook in hun uiterlijk herkenbaar als afstammelingen van de blauwe mannen,
de benaming van Europese zwarten in de middeleeuwen. De adel ontstond aan het
eind van de Middeleeuwen en introduceerde afbeeldingen van de centrale zwarte
koning bij de geboorte van Jezus rond 1100-1200. Rond 1500 was dit motief in
heel Europa aangenomen, en markeert het begin van de Renaissance. Europa zoals
wij haar vandaag kennen is het resultaat van de Renaissance. De Franse Revolutie
(1789-1795) was het einde van de zwarte overheersing welke de vorm had van
Omgekeerde Apartheid. Er is dus wel degelijk een oorzaak van racisme tegen
zwarten aan te wijzen en een datum te noemen. Nadien waren er verschillende
restoraties, maar vanaf 1848 was het voorgoed gedaan met de macht van de zwarte
en gekleurde adel. Eurocentrisme en rassenleer zijn bedacht om deze episode te
verbergen, en daarom lijkt het alsof zwarten, de eerste Mens, geen deel van de
geschiedenis vormen. Dat vanwege de revisionistische mythe van witte
superioriteit alle ontdekkingen en beschaving van witte mensen komt, terwijl
witten albino’s zijn, afgeleide van zwarten. Dus niet superieur aan
zwarten.<br />
<br />
Racisme kan daarom gedefinieerd worden als een overdreven
bevrijdingsideologie om witten te bevrijden van zwarte adel en koningen, welke
in de aanloop naar de Franse Revolutie werd bedacht. Hoewel de Franse Revolutie
in de eerste plaats het werk was van de hogere, gestudeerde burgerij als Hume,
Voltaire en Rousseau en progressieve adel die zwart en gekleurd was. Slavernij
van Afrikanen ontstond onder deze gekleurde Europeanen en is geen uiting van
racisme, maar van hebzucht en ongenadige uitbuiting. Het woord blanke moet
opgevat worden als een Europeaan en niet dat deze personen perse ook wit waren.
Mogelijk lichter dan sommige Afrikanen, maar vaak zal er geen verschil in kleur
en trekken zijn geweest. De gekleurde Europeanen oogden als een gefixeerd
mulattenras, waarvan sommigen meer Afrikaans, Aziatisch of wit oogden. Hun hoge
status hing samen met hun gekleurde uiterlijk, wat de reden was om uitsluitend
onderling te huwen. <br />
<br />
De Surinaamse planters waren tot in de 19e eeuw
zwarte en gekleurde mensen, even als de gouverneurs. Dat is de reden waarom wij
hen zelden te zien krijgen. De kleindochter van gouverneur Cornelis van Aerssen
wordt door haar neef James Boswell beschreven als zwart als een schoorsteen en
haar man, Aarnoud Joos van der Duyn, een baron van de oudste en hoogste
adellijke familie als schoorsteen veger. Boswell, een Schotse baron met een
Nederlandse grootmoeder, beschrijft zichzelf als zwart. Hij beschrijft Rousseau
als een zwarte man. Rousseau beschrijft zijn weldoener Pierre-Alexander Du
Peyrou, een Surinamer, schrijver en rijke plantagehouder als donkerbruin.
ComponistVan Beethoven werd De zwarte Spanjaard genoemd en zijn leermeester
Haydn The Blackemoor. Charles II Stuart (1633-1685) was de Engelse koning die
Willoughby een vergunning verleende om in Suriname een kolonie te beginnen,
stond bekend als The Black Boy vanwege zijn zwart uiterlijk. Deze feiten worden
voor ons verborgen doordat men ons uitsluitend de gewitte, propagandistische
portretten toont. Er was blijkbaar een traditie bij de zwarte elite om zich als
witten af te laten beelden, maar ook als zwarten. De witte portretten vormden
een soort legitimatie en deferentie aan de witte ondergeschikten. Echter bestaan
er kostbare boeken uit adellijke collectie die met mensenhuid zijn gekaft, wat
een betere indicatie vormt van de waardering van de adellijke elite voor hun
witte onderdanen. Nederland bracht de archieven tot 1795, van het zwarte Ancien
Regime naar Nederland, zodat Surinamers een zwarte en gekleurde natie, deze
feiten niet zouden kennen. Noch dat de Surinaamse planters beschaafde en
gestudeerde mensen waren die al twintig jaar vóór de Amerikaanse
onafhankelijkheidsstrijd in opstand tegen Nederland waren gekomen. <br />
<br />
Veel
Surinaamse bronnen zijn openbaar, maar een deel is nog in privé bezit en dient
door zwarte en gekleurde onderzoekers nageplozen te worden. Nicolaas Beets
bijvoorbeeld schrijft over een koloniale familie met een ‘West Indisch’
uiterlijk. De naam Beets komt ook voor in 18e eeuws Suriname, een schoonzuster
van Maria Susanna Du Plessis. Verder correspondeerde Beets met nakomelingen van
gouverneur Crommelin. Een kleindochter van de gouverneur was getrouwd met een
zoon van de schilder Jean-Etienne Liotard, die heel afrocentrische
zelfportretten van zichzelf maakte. Dit is dus het dilemma welke speelt bij het
schrijven van mijn roman Maria Susanna Du Plessis welke uitsluitend zwarte en
gekleurde Europese en Afrikaanse personen betreft. Daarom moet ik de historische
visie van Jamaludin en haar zorgvuldig uitgewerkt kleurschema ook op dit punt
afwijzen en besef tegelijk dat mijn werk daarom nooit door een Nederlandse
uitgever zal worden uitgeven.<br />
<br />
Egmond Codfried<br />
Den haag, 28 maart 2010<!-- google_ad_section_end --></div>
</span><br />
<br />
<span class="important">HIDDEN COLORS; THE ENEMY WITHIN</span><br />REVIEW:<br /><br />Opposing Black research;<br />HIDDEN COLORS; THE ENEMY WITHIN<br /><br />The post-colonial Blue Blood Is Black Blood Theory (1100- 1848) seeks to reconstruct the period of the European history when white Europeans were ruled, civilized and Christianized by a brown and black complexioned royal, noble, bourgeois and intellectual elite. With some showing classical African facial traits, considered a sign of pure blood. And nobles self-identifying as Blacks with images of heraldic Moors. All of euro centrism and ‘science’ is used to hide this fact that the European civilization started with Blacks, as Europe overcame noble domination with the French Revolution (1789-1795) and the final revolutions of 1848. Today there are Blacks who violently oppose this research.<br /><br />The knowledge and acceptance of this theory will lead to the end of racism, which was conceived as a liberation ideology, and the end of white supremacy that is based on fake, whitened images of persons of the highest European elite. Who are described as brown and black of complexion. I have opened a museum Suriname Blue Blood Is Black Blood Museum, dedicated to this research and showing the remaining black images, the true looks of these persons. Bluebloodisblackblood.blogspot.com informs in both Dutch and English about this research and the museum.<br /><br />As I demonstrate in my review ‘Badal, Or The Suicide Of A Reformed Housenigger’ how the whole of Dutch politics and science is driven by state racism, and how Black and brown persons are used to perpetuate white supremacy and neo-colonialism, like they might be employed in the Holocaust preparations against allochtonen. Even parts of so-called Black History have today been co-opted and there are Blacks on the take, who push the Blacks-as-slaves-only agenda, mentally enslaving, intimidating and traumatizing Blacks. Research and initiatives by Blacks to present Blacks as slaves will always find favor with whites. That’s why we find some Black researchers able to find Black Emperors in China and Japan, and Black Olmec Kings in Mesoamerica, but not finding Black Kings and Emperors in Europe that are more recent, and supremely documented and depicted. The fate of these Africans in the European Diaspora is directly linked to the fate of today Blacks all over the world. This can only mean they do not want to find them and rather attack me, as this benefits their standing and careers among the whites. Repeating the fallacy that a Black researcher should limit his interest to slavery and Africa, while whites research anything they damn well please. The impression given is that there is nothing a primitive Black, from Suriname, can say that will ever be of interest to any superior, white Dutch.<br /><br />Blacks have sold other Blacks in slavery; African slavery was introduced while Blacks were ruling Europe, Suriname governors and slave masters were European browns and blacks. And now as we have entered the phase of ending revisionism and a Second Enlightenment, there again are those Blacks who sabotage efforts to free Blacks. They present us with so-called Black inventors who are defined after revisionist definitions of Blacks because of a Black ancestor, a slave ancestor. Charles II Stuart, who was called ‘The Black Boy’ and described as ‘A tall Black’ man, nor his cousin Louis XIV who’s mummy was ‘black as ink’ cannot be identified as Black according to euro centrism, because they had no slave ancestor, or there is not a named SSA ancestor. My latest efforts to bring a change are in regard to the Van Mierevelt portraits, which like all portraits shown publicly are over paints, they are whitened, and thus show iconographic interventions. This is a species of scientific misconduct by scientists doing research and presenting research in order to establish a preconceived conclusion, namely that Europe was a white civilization. <br /><br />The Nobility, the Ancien Regime was Black identified and racism was invented to topple this unjust, minority rule. One of the fruits of the Enlightenment was racism against Blacks, as all philosophers somehow came to view Blacks as degenerated whites, just one step away from becoming apes. This was necessary to counter the almost religious believe that the nobles who looked Black and identified as Blacks were somehow superior. The oppressed mass needed to be told that instead of superior beings they were primitive, malevolent apes. The nobility considered both the whites serfs and the brown and black complexioned regent class, the bourgeoisie, as inferior. But due to reversed apartheid, the Black bourgeoisie got preferential treatment. This is the reason why all the famous names of the intellectual elite can be linked to brown and black portraits. Descartes, Van Beethoven, Bernd Hayden, Rousseau, Voltaire, Goethe, De Staël, Blumenbach were described and/or portrayed as brown and black complexioned, but also as whites. It was as if Europe was dominated by two Black nations fighting for power, with the regent class (calling themselves Black Caucasians) siding with the white Caucasian mass to unseat the nobility and royalty. Brown and blacks were in total 2-3% if we understand Jane Austen (1775-1817) well.<br /><br />Almost all old portraits show clear signs of over painting with pink and beige layers. Van Mierevelt seemed to be one of the few portraitists who was popular for depicting brown and black skin, as we can understand from the vague descriptions by happy clients like Constantijn Huygens, Hugo Grotius and PC Hooft. As Black Supremacy was controversial from the beginning, discussing it was taboo, and even black complexioned portraits were talked about in a hushed manner. Up till now the novels of Jane Austen, who was dark brown, are the most relatively explicit in championing Black Superiority, but still it can be over looked. In the 19th century blackness was explained away by claiming that the varnish had ‘yellowed,’ and paint had ‘darkened.’ But black complexioned Van Mierevelts were still displayed in 1915. Around 1880 the whitening of all old portraits seem to have become mandatory, but Hitlers stealing of portraits was arguably also in order to whiten them in an uniform and expertly fashion. Because it’s clear that some families took to painting overnight with disastrous results and defacement op masterly portraits. Or later painters/restorers seem to have had a need to leave their mark, and a portrait of Peter de Groot by Delff appears as a pointillist piece by Van Gogh. The strange explanation, accepting the striped, fake layers as authentic, is that De Groot had a pockmarked complexion, due to some illness. It’s hard to imagine a person paying top money to have his pockmarks highlighted by a painter. <br /><br />The phrase ‘bad complexion’ which meant black skin seems to have been misunderstood by later generations as pockmarked. But Belle van Zuylen (1740-1805) already shows her disdain for fake ancestor portraits by having them thrown in the moat in ‘Le Noble’ (1767). She wrote to James Boswell about herself: ‘She does not have the white hands, she knows this and even jokes about it, but [a dark complexion] it is no joking matter.’ The perennial confusion about the authenticity of Rembrandts might be due to the over paint layers considered as authentic. After being declared yellowed portraits were supposedly ‘scoured,’ ‘verpoetsen,’ causing the brown and grey under paint to show on some. Yet it’s not feasible that a restorer will take a perfectly good, priceless painting and will return it with layers missing, only in the face and hands. This was then explained away as the natural thinning of paint layers, like human skin might be thinning. More likely the inferior pink and beige paints caused micro peeling, causing both new and old layers to crumble and fall of as dust over many decades. Over paints show up as dark patches on x-rays, showing the opaque, double paint layers on face and hands.<br /><br />This argumentations is also based on directions given in a restorers handbook, advising not to identify ‘iconographic interventions’ in the dossier, which are defined as ‘over paints’ and a kind of ‘repaint,’ and to maintain them as much as possible. We are already familiar with major changes made in the hairstyle, clothing and even facial features to conform an old portrait to the tastes and needs of a new owner. But the sum of this is the revisionism of history through scientific misconduct by ignoring fake paint layers and has no place in science that seeks truth and reconstruction of the past. <br /><br />Consistently my research questions are answered as ‘There are no Blacks,’ and my research ridiculed, but some overwhelmingly black portraits are not shown where we should expect them, like Maria Jacoba van Goor (1687-1737) by Herman Serin at Slot Zuylen or Maurice Huygens by Rembrandt at the Huygens Museum. For a recent Van Mierevelt exhibition (2012) in Delft, a few authentic, not over painted black portraits of the Van Aerssen-Beyeren en Van Schagen families were not chosen, although they were shown in 1915 at the Gemeente Museum in The Hague. Since then the collection seem to be (partly?) given to the Del Prado Museum. I was dismayed to find out that the restoration dossiers at Delft were not open for public scrutiny, while we the public pay for all of this. What could be the reason for that kind of secrecy? The consistent denial is at odds with actions by conservators and historians to actively exclude black portraits from exhibitions or publications.</td></tr>
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Egmond Codfriedhttp://www.blogger.com/profile/10597005835134961469noreply@blogger.com0