Category Archives: Durer Sleuth

The Dürer Mystery: New Revelations on Amazon-Be Afraid

The Dürer Mystery: New Revelations Paperback – September 9, 2015

The SHIPS of MELENCOLIA-Part 2

The first sailing ship found in Melencolia

The first sailing ship found in Melencolia

Copyright June 8, 2014 Dr. Elizabeth Garner and Kathy Lawler

As previously  reported in the first article about the mysterious ships that are encoded in Melencolia which you see again here, a Portuguese or Spanish medieval carrackthere are more ships that have been found on the right side of the composition, delineated by the putto, who represents the co-artist Margret.

As the Duerer Cipher reveals, anything on the right side of a “two storied” composition indicates something from the past. Margret and Albrecht were both working on this print as a tribute to their mother, Barbara, who they knew had started to die in 1513.  Then suddenly, Margret died closely after her mother, sometime between May 16, 1514 and August 24, 1514, according to the death registries published by the Nuremberg St. Lorenze church.

As discovered by P. Weber in 1900, the ENTIRE theory that Der Reuter, the 1514 St. Jerome in the Study and Melencolia COULD NEVER HAVE BEEN PRODUCED AS PART OF A TRILOGY, the “Meisterstiches, ” as they still are called today, since the records of Anton Tucher’s cashbook, the Losunger, or President of the Nuremberg city government (the City Council) PROVE that Tucher purchased from Albrecht on October 13, 1515, three “St. Jerome’s” and FOUR Melencolia prints as presents for friends in Rome”, has been totally ignored. Otherwise, Albrecht GAVE these two paired prints, The St Jerome and Melencolia, without Der Reuter, to very highly placed courtiers to get his pension back when he went to Antwerp to regain the pension he had lost upon the death of Emperor Maximilian in 1519.

Der Reuter was made in 1513, so it never made any sense that Melencolia might have been “numbered” as  1. These three prints were never interconnected and the perpetuation of this myth for another 114 years after a “recognized, at the time, Duerer expert” blew the theory apart, but is perpetuated in ALL art history classes today, is an ridiculous, proving that academia merely repeats over and over the inaccurate research about Albrecht Duerer. But of course, it’s always about the Italian Renaissance artists, so why should they care?  THEY DON’T.   But let’s get back to the second ship in Melencolia. Here is the image of the second ship in Melencolia, and without surprise, It is encoded in the folds of the drapery of the putto, Margret, on the right side of her dress:

the ship in the folds of the putto, Margret, in Melencolia
the ship in the folds of the of the dress on the putto, Margret, in Melencolia

What you see in this image are a number of symbols.  The ship itself is within the bounds of the red oval with the yellow arrow pointing to the flag flying from it’s masthead. the flag appears encoded but we haven’t figured that out yet, please feel free to try to do so. The purple arrow points to the what appears to be the masthead, and it appears to be a bird of some sort, a very large bird. The object that is circled in the blue oval with the orange arrow pointing to it is a telescope, another telescope.  Both the position of the ship and the directional clue of the telescope almost mirrors the direction that the first ship found is traveling towards, and that would be EAST, towards the past.   How many more ships will we find?

DURER-Audit HOOEY faults security at Boston Public Library

durer albrecht rembrandt sex renaissance boston public library art theft

 

NOTHING LIKE MAKING A VERY GOOD EXISTING PROTECTION SYSTEM SOUND SO BAD, JUST FOR MISSING A CONSOLIDATED LIST. WOULD BE NICE TO HEAR ABOUT SOME REAL POLICE ACTION HAPPENING INSTEAD OF ALL THIS PUFFERY

NOW LET’S LOOK AT WHAT’S REALLY STUPID IN THIS AUDIT REPORT AND REPORTING.  THE BPL HAS A BUDGET OF $416 MILLION FOR SECURITY AND THESE TYPE OF COLLECTIONS, SO THEY NEED MORE MAYBE?

ONCE YOU READ ALL THIS AND GET TO THE DETAILS OF THE AUDIT REPORT, YOU SEE THE TOTALLY WRONG OPENING PARAGRAPH OF THIS REPORTER WHO IS ONLY CREATING SENSATIONALISM AND NOT ACCURATELY REPORTING.

The Boston Public Library, where two valuable pieces of artwork disappeared, inadequately protects its special collections from theft, -WRONG, and does not keep a complete inventory of its prized objects, MAYBE according to a city-commissioned audit..

 

WHAT WAS HITCHINGS DOING FOR 40 YEARS? GUESSING? HE COULDN’T THINK TO GET A DATABASE SOFTWARE PROGRAM MUSEUMS USE?  THEY WERE AVAILABLE.

“Current estimates for holdings are [in most categories] guesses made many years ago that have been adjusted with newer guesses along the way,” according to the audit of the library’s operations and finances by Chrysalis Management. The assessment was launched in December and commissioned by Mayor Martin J. Walsh.

THE AUDITORS SAY GOOD THINGS

“While security staff has taken steps to better control key access to high value areas,’’ the audit said, “they agree that they are exposed to internal theft.”

The report, dated May 1 and provided to the Boston Finance Commission on Tuesday, found that the library’s Special Collections, which includes the print collection where the artwork valued at more than $600,000 went missing, is not well managed. LET’S SEE WHAT THEY SAY LATER.

THE CHAIRMAN OF THE TRUSTEES CAN’T BOTHER TO READ THE AUDIT REPORT? NOW THAT’S A JOKE.

Jeffrey Rudman, chairman of the library’s board of trustees, said Tuesday night in a phone interview that he had not yet read the audit, but that the trustees plan to meet to discuss its findings, “among other topics.”

“Defending against internal misconduct, if there was any, is a real challenge,” Rudman said. “So of course, we want to do better.”

Boston police, the FBI, and the US attorney’s office are investigating the disappearance of Albrecht Dürer’s engraving “Adam and Eve,” valued at an estimated $600,000, and an etching by Rembrandt entitled “Self-Portrait With Plumed Cap and Lowered Sabre,” valued at $20,000 to $30,000, from the library’s Copley Square branch.

Police launched an investigation on April 29 and said they are looking into the possibility that employees stole the artwork, which may have been missing for up to a year.

No one has been charged. One employee, who oversaw the special collections, has been placed on paid administrative leave.

The audit was submitted on the same day that Walsh met privately with Rudman and Amy E. Ryan, the library’s president, to discuss security protocols at the library and the missing artwork.

Walsh and Ryan both declined to comment on the audit through their aides.

In the interview with the Globe, Rudman said he has full confidence in Ryan and characterized her as “the best leader this library could possibly have.” MORE THAN LIKELY

A library employee learned the Dürer was missing on April 8 and launched a review of locations where it might have been misfiled, according to Melina Schuler, a library spokeswoman.

When the Rembrandt was discovered missing a week later, Ryan notified Police Commissioner William Evans and the mayor, she said.

At the heart of the investigation is whether the artwork was misfiled or stolen.

Rudman declined to say if he thought a crime had been committed, citing the pending investigation, or why Susan Glover, the keeper of special collections, had been placed on leave last month. SURE DOESN’T MAKE SENSE EITHER GLOVER ON LEAVE

NOW TO REAL FACTS: ONLY 6 PEOPLE HAD ACCESS TO SPECIAL COLLECTIONS-NORMAL!!!!!!!!!!!!

Six people had access to the restricted area where the prints were kept, he said.

Matt Cahill, executive director of the Boston Finance Commission, the city’s fiscal watchdog, said his office had just received the audit on Tuesday and he could not comment on its findings.

Asked about the security concerns highlighted in the report, Cahill said, “Anytime someone points out flaws in the system, you want to make sure that you’re not just reacting to it, but that you’re taking a thoughtful approach to make sure the problem no longer exists.”

After the meeting at City Hall and before the audit was obtained by the Globe, Ryan released a statement saying the library trustees will meet soon, and “it is our hope to see this situation resolved swiftly and thoroughly.”

Ryan said she learned on April 10 that the Dürer engraving had been missing for almost a year, “a time gap of significant concern which will be part of the administrative investigation.”

She said she notified Rudman the next day and directed an internal search that was launched on April 13. Staff discovered during the search that the Rembrandt was missing as well.

“While still hopeful that the prints were misfiled, it was clear that the BPL may have been the victim of a crime,” Ryan said. “On Wednesday, April 15, Jeff Rudman and I contacted the office of Mayor Walsh and Commissioner Evans.”

THEY ARE GOOD STANDARDS AND SIMILAR TO OTHER INSTITUTIONS SO WHY IS THIS REPORTER CLAIMING THE SECURITY IS LAX.  A WELL PLANNED INSIDE JOB IS HARD TO STOP.

She also defended the library’s security protocols for viewing the special collections, saying they are similar to standards at other institutions nationwide.

“There is limited employee access to the print collection, and controlled public access,” she said.

The audit followed Walsh’s announcement in early 2014 that he would be ordering “performance audits” of various city agencies.

 

ALL GOOD THINGS FROM THE AUDITORS

The report credited the BPL with a number of accomplishments, including providing a breadth of services, having a strong digital team, marketing its collections of distinction, and successfully executing major construction projects.

OOH WE GOT UNION PROBLEMS IN BOSTON, WHAT A SURPRISE.

However, it also recommended 10 high-priority improvement opportunities, which included inventory management, union cooperation, prioritization and accountability, employee performance management, and fund-raising.

The report said the special collections staff focused too much on acquiring new works and not enough on protecting what the city already owns. DOUBTFUL

 

DUH!  YOU GOT 6 PEOPLE MANAGING ALL, USUAL, THESE INSTITUTIONS AREN’T GIVEN  ENOUGH MONEY TO DO THE JOB RIGHT, ANY ONE LIKE PAYING TAXES FOR GOOD STUFF OR JUST COMPLAINING ABOUT THEM?

“Staff levels are not sufficient to properly care for aging items and storage is not suited to maintaining required environmental conditions,” the review said. “Security is insufficient to protect against internal theft.”

The library has recently taken a number of steps to improve security, including a $78 million renovation project that includes significant upgrades to security, such as cameras and expanded key card access points, according to Schuler, the library spokeswoman.

 

WHA???????????????????????????????????????????????? THE DURER GOES MISSING IN JUNE 2014, THE AUDITORS DON’T FINISH TIL DECEMBER 2014, WHAT IN HECK WAS THIS MANAGER OF SYSTEMWIDE SECURITY DOING IN OCTOBER?

In October 2014, the library created a new position, the manager of systemwide security, who is tasked with updating and developing security policies across the system.

In addition, an independent firm has been hired to assess security in the library’s print department and associated collections, Schuler said.

The audit said more improvements were required and recommended a security monitoring system with live camera feeds, instead of the library’s current system that records videos at multiple locations and is only reviewed after an issue occurs.

 

The audit also said the library does not have a consolidated inventory list. SO WHAT? THAT DOESN’T PREVENT THEFT, HAVING A LIST, NOW A DOCUMENTS FILING SYSTEM MIGHT

The assessment said it is critical that the library inventory every item, estimate its value and where it is housed, and determine whether special security concerns or standards are required to view it. DUH, HOW MUCH DID THESE AUDITORS GET PAID? THIS COULD HAVE BEEN WRITTEN FOR ANY AUDIT ABOUT ANYTHING

“The significant value of some items makes increased security a high priority, particularly as it relates to protection against internal theft,” the report said. WOW MASTER OF THE OBVIOUS, AND THE MANAGER OF SYSTEMSWIDE SECURITY WAS DOING WHAT?

Rudman sounded a note of optimism, calling the library “one of the great public libraries of this country, maybe number one. We want to be the best that we can be, and the task for us is to see what we can learn from this.”

SEX SELLS! Why isn’t anyone talking about SEX IN Dürer art?

The Penance of St. John Chrysostom - Albrecht Durer's painting

 

Copyright Dr. Elizabeth Garner, May 1, 2015  All rights Reserved                                    

  Albrecht Dürer and Sex Secrets!

Let’s discuss sex in art and specifically about sex secrets in Dürer’s art. It has always amazed me how scholars and art historians seem to purposefully avoid the issue of sex in art, especially nudity.  Instead they seem to gloss over the obvious, coming up with all sorts of complicated analyses and opinions as to why nudity exists in art other than to attract male buyers.

GREEK REVIVAL OR NEOCLASSICISM, ANYONE? HOW ABOUT PORN?

Often, the depiction of nude women in art is attributed to the resurrection of Greek and Roman themes, often called Greek Revival or Neoclassicism. Sex sells. Period.  We see this in any advertisement today.  Nothing has changed since homo sapiens came into existence.  Men love looking at the female nude body and will buy pictures of nude females. Period.

Artists got rich depicting nude females. Most art historians attribute Dürer’s depiction of nude female and male bodies in his art as  proof that Dürer was influenced by the Renaissance Italian painters.  The Metropolitan Museum of Art claims that “the rediscovery of Greco-Roman culture in the Renaissance restored the nude to the heart of creative endeavor. Nude figures based on antique models appear in Italy as early as the mid-thirteenth century, and by the mid-fifteenth century, nudes had become symbols of antiquity and its reincarnation.”

HOW ABOUT PORN INSTEAD?

Sex sells, period. A Renaissance painter or artist could only get away with painting nude bodies for the visual pleasure of men by fostering this theory or suffer from the Roman Catholic Church’s punishment.  We have to remember that Dürer was manufacturing his art soon after the Inquisition was implemented. In the German part of the Holy Roman Empire there were strict clothing laws, called sumptuary laws, which regulated almost everything that people could wear, according to social class. In northern climates, women had to be almost totally covered, whereas the southern Italians allowed more risqué type of dress, with low necklines and bodices that pushed up the breasts.  Thus, there was a pent up demand for nudity in the northern European climates. Recently, archeologists have discovered medieval bras in Germany, something that looks almost exactly like the undergarments women wear today.  Take a look:

Bra and Panty used in medival period
Medieval Bra and Panty found in Austria (even embellished with lace!)

http://www.guardian.co.uk/world/2012/jul/18/medieval-bras-discovered-austrian-castle (click for more information about this momentous discovery) When printed images became a marketing phenomena in the Renaissance, women were often depicted with their breasts showing, often in bed. Dürer’s employers took advantage of this marketing ploy frequently in the prints they required him to design while Dürer he was a journeyman from 1490-1494. Today we’re going to take a closer look at Dürer’s incredible skill in depicting nudes and one of the secrets no one has yet discovered until now.  Albrecht Dürer was using subliminal sex images to sell his prints.

The Penance of St. John Chrysostom - Albrecht Durer's painting
The 1496 Nursing Mother currently erroneously called “The Penance of St. John Chrysostom”

Dürer made this print in 1496.  The current title of this print is “The Penance of St. John Chrysostom,” although we have no idea what Dürer called it.  Almost nothing in this print maps to the story of St. John Chrysostom, and for hundreds of years, this print was called St. Genevieve (even though St. Genevieve didn’t have a child).

It’s true meaning has been obscured by ignoring what is actually depicted in this print. The nude woman nursing the infant has been considered one of Dürer’s most beautiful nudes.  The beauty of the nude woman should have been enough to attract any male buyer into buying this print except for the fact that Dürer depicts her as a nursing mother.  Nursing is not usually considered sexy.  Why even depict such a beautiful nude woman if he was going to also show her nursing a male child? It’s somewhat nonsensical.  How was he going to counteract the contradiction and sell this print?

HOW ABOUT SOME PORN?

What did Albrecht Dürer do?   He made sure that male buyers would want to buy this print.  He embedded into the landscape surrounding the nursing woman subliminal sex content.  Take a look again:

The Penance of St. John Chrysostom - Albrecht Durer
The right-hand side of the “rocky” overhang is secretly a nude female body in profile, exposing even her genitals. The left-hand side is a male phallus. Any hetero – or homosexual man would be attracted to this print. Sex sells!

What you see as part of the strange landscape surrounding the nude nursing woman is a female nude in profile, which makes up the right part of the landscape overhanging the woman.  The top part of the landscape has the nude torso in profile displaying breasts, and the bottom part of the of the right overhang shows somewhat large thighs and an exposed vulva.

A male phallus is depicted as part of the left part of the overhang.  And all this nudity is directly in the center of the print, where Dürer puts most of his important clues.  No one in over 520 years has discovered this extremely effective technique before me, so we can assume that most buyers wouldn’t have noticed it either.

EFFECTIVE MARKETING

What male buyer was going to be able to resist such a blatant display of sexuality, especially when they probably even weren’t aware of what they were truly looking at?  There’s enough sex in this composition to satisfy any hetero- or homosexual desire.  That is an effective marketing technique.

We can also assume that who ever this woman and male baby are, they were very important to Dürer, for he uses this subliminal sex technique when he really wants viewers to peer closely at his composition and pay attention to what is really in the image. Dürer leaves us a clue as to her identity.  Look closely at the rock jutting out over the upper right of the ledge. In the rock is a heraldic coats of arms, that identifies who she  and the baby really are.  And it’s a thriller!

BUY THE BOOK!  CRIMES IN THE ART: THE SECRET CIPHER OF ALBRECHT DÜRER

www.amazon.com/Crimes-Art-Secret-Cipher-Albrecht-ebook/dp/B00FNWKYMO

What’s the Secrets in a Name?

durer albrecht sea monsters dolphins kings of France

                                                     The 1498 Meerhwunder-The Sea Monster

 

Copyright © May 1, 2015, Dr. Elizabeth A. Garner, All Rights Reserved

Did Albrecht Dürer name his prints?

What are the names by which Dürer’s graphic prints are titled?  We can only really know the true meaning of any Dürer print by the title he himself gave it or if the subject matter is obvious on its face (e.g. a print about The Crucifixion).

Dürer produced 334 graphic prints on paper (105 engravings, three dry points, six etchings and 222 woodcuts). We can only be certain of the names of thirteen of all these prints from entries Dürer made in his Diary of his Netherlands Journey (1519). Many of these 13 names have not been respected by historians and are frequently now known by other titles, as labeled by the expert of the day. Thus the probability of the accuracy of these new titles is low, but more importantly, the inaccuracy of the interpretations of the subject matter is high.

ADAM AND EVA

Let’s look at a few examples.

One of Dürer’s most famous prints flashed in front of millions of TV viewers during the opening credits of Desperate Housewives. That print Dürer called Adam und Eva, which you see here:

name
The 1504 Adam und Eva Engraving

That is the only name by which this print should be known. Instead, scholars most often refer to this composition as The Fall of Man, imposing an enormous amount of religious, mostly Christian, connotation upon it. That interpretation will never reveal the true secrets of this print.

If we analyze the landscape in which Dürer placed the two figures, it really does not even seem to represent the Garden of Eden. The action takes place in a very dark place and Eva is feeding the forbidden fruit to the snake. This doesn’t follow the storyline of the Jewish Torah or the Christian Old Testament, for the snake never eats the forbidden fruit.  So why does the snake eat it here?

Who were Adam and Eva?  Adam was the first man and Eva was the second woman (Lilith having been the first) of both bibles, so if we adhere to interpreting this composition as being about a first man and a second woman, we ultimately arrive at the truth.

THE RIDER (DER REUTER, wrongly known as Knight, Death, and the Devil)

Another print whose real title has been totally ignored can be seen here.

name
The 1513 Der Reuter (The Rider)

Dürer’s title for this print was the Der Reuter, which means “the Rider.” However, it appears that sometime around 1867-1875, this composition was labeled with the title, Knight, Death, and the Devil, a name that has stuck ever since.

While the man riding the horse is dressed in armor and is most likely at least of the social status of a knight or higher, Dürer would have called this print Der Landsnecht, the German word for knight, if he was truly representing just a knight.

But he didn’t.  He specifically indicates that this armored figure is “riding” solo by the title.  His title selection doesn’t even give an inclination as to who the other figures are in the composition or why they are there unless the figures have something to with with a lone rider.

Neither are the other two figures actually depictions of “Death” or of the “Devil.” The figure known as “Death” on the left holding the hourglass is a very fleshy figure wearing a crown with slithering creatures, who happens to be missing a nose. The figure on the right has only one horn and holds a weapon of war, a pike, which is not how devils were depicted in medieval times.

When we interpret this print using its real name, The Rider (a sole rider), we then realize that we are looking at an armored Rider of some social rank of at least a knight, but probably higher (we find that out because of the noseless figure), riding by a crowned noseless figure (a king), and a figure that looks like a pig with one horn holding a weapon of war.

SEA MONSTER

Let’s look at a third example. The  1498 print you see here:

durer albrecht sea monsters dolphins kings of France
The Sea Monster Meerhwunder-1498

Dürer titled this print the Meerhwunder, the “Sea Monster” and thus we have to interpret this print about something that was known as the sea monster in the Renaissance.  That creature was the dolphin, and while the dolphin is a smooth-skinned sea mammal, it was depicted with scales in medieval times, like this:

The medieval “scaly” dolphin, the “Sea Monster”

And we have to stick to an interpretation that this print is about someone or something that was a “monster” of the “sea.”   Most historians interpret this print in light of the Greek and Roman revivalism that was occurring in the Renaissance.  Yet no scholar has yet successfully interpreted the meaning of this image utilizing all the symbols in this composition.

AND THEN THERE WERE THREE

Through the use of very skilled optical techniques and devious placement of the figures, we find that Dürer actually depicted three figures in this composition: the man with the horns and beard, the naked woman wearing a Milanese headdress, and the scaly Sea Monster. That allows us to understand that what is really happening is the sea-monster dolphin carries the naked Milanese woman whom the bearded man is attempting to rescue.

Thus we are being told a story about some personage associated with a dolphin, a rescuing man associated with horns on his head, who rescued some “naked” woman and is also associated with some Milanese woman.

The other 10 prints for which we have names from Dürer’s Diary follow the same pattern. They all have clues within the composition that tell us Dürer’s true meaning, which got lost when scholars re-titled the images. For all the remaining images for which we really don’t know the names, we have to abandon the “retitles” if we are to find all the secrets that Dürer left us.

I will speak in depth about the clues in the above prints in future publications, as well as many others. But in the meantime, I have given you the major clues about these three prints in case you would like to do some Dürer sleuthing on your own.

 

BUY THE BOOK!  CRIMES IN THE ART: THE SECRET CIPHER OF ALBRECHT DÜRER

www.amazon.com/Crimes-Art-Secret-Cipher-Albrecht-ebook/dp/B00FNWKYMO

 

THE GALLOGLASS by Durer-Do you belong to a Warrior Clan? OR BETTER?

durer albrecht sex ireland drawing art renaissance galloglass irish

IT’S TAKEN A WHILE TO CRACK THIS MYSTERIOUS DRAWING, MUCH RESEARCH WAS REQUIRED TO LEARN ABOUT GALLOGLASS AND WHO WAS THE KING WHO OWNED IRELAND IN 1521?

THE SEARCH HAS BEEN SO FASCINATING AND SO DIFFICULT, IT’S TIME FOR ALL YOU SCOTS, IRISH, ENGLISH, IBERIANS, GERMANS, BASICALLY ALL OF EUROPEANS INCLUDING EASTERN EUROPEANS, AND THEIR DESCENDANTS,  TO LEARN HOW IMPORTANT THIS SKETCH OF GALLOWGLASS, KERNS, AND SOLDIERS BECOMES IN REVEALING THE TRUTH OF WHO YOU ARE!

SO WE START AT THE BEGINNING, FOR THIS IS SO CONVOLUTED, YOU’LL BE LOST  UNLESS WE START AT THE BEGINNING, AND IT’S  SUCH FUN!

For nearly 100 years after the arrival of the Normans in 1169AD the old world of Gaelic Ireland was in retreat. The Normans brought to Ireland superior weapons, the long sword, lance, Welsh crossbows, and iron helmets, and chain mail protecting much of the body. This was in contrast to the native Irish with their axes and short swords and dressed in linen tunics. To halt the Norman onslaught the remaining independent Irish Chieftains needed a new weapon and they found it in the mercenary warriors from the Western Isles of Scotland. These Gallowglass or ‘foreign Gaels’ had served as elite warriors in the Western Isles of Scotland for over 100 years prior to their arrival in Ireland.

The first 160 Gallowglass, who appear to have been from Clan MacDoughall arrived in Ireland in 1259AD as part of Dougall MacSorley’s (King of the Hebrides) daughters dowry in her marriage to Aedh O’Connor, the then King of Connaught. The Gallowglass fought like the Normans protected in mail coats and iron helmets,

durer albrecht galloglass sex ireland drawing paintings renaissance medieval irish scots
The McSweeny Galloglass and their armor

But they were notable with their characteristic two handed axes and Claymores (a large 2 handed sword). This trickle of warriors became a flood as many mercenary Gallowglass Clans either sought new lords after backing the losing side in the Scottish wars of Independence or just somewhere to ply their trade, and given the battle against the encroaching Normans or the constant inter-Clan warfare there was always a demand for the services  in Ireland.

Many Clans like the McCabe’s and MacSweeney’s transplanted completely to Ireland.  The MacSweeney’s vacated their homeland around Castle Swin on the Argyll peninsula in Scotland for life in the service of the O’Donnell’s in Donegal. Others remained seasonal travellers appearing in the spring and summer offering their services to the highest bidder (everybody appears to have decided that making war in autumn and winter in Ireland was a bad idea). While others like the MacDonald’s/MacDonnell’s’ and MacNeill’s established territories in County Antrim in the northeast of Ireland to complement their lands in Scotland (the MacNeill’s appear to have been the new occupants of Swin Castle vacated by the MacSweeney’s). County Antrim provided the shortest crossing point between Scotland and Ireland and the presence of Scottish Clans there may have been an attempt to monopolise this lucrative trade.

What is certain is that the tide had turned, the Norman Conquest had lost momentum, and the Irish Chiefs with the aide of their new weapon rolled back the Normans.

14th and 15th Centuries a stalemate developed, with Ireland divided into spheres of influence as reflected in the medieval ethnicity map of Ireland. There was a mini Gaelic revival and although not all the Normans adopted Gaelic ways and customs, the habit of hiring Gallowglass was adopted by all, including the English authorities who’s rule was restricted to the area known as ‘The Pale.’ Some of the Gallowglass Clans had by this time become independent establishing their own territories.

But who were these warriors who effectively changed the course of Irish history, and how can you tell if you are descended from them?

Clues as to the origins of the Gallowglass can be found in the surname of the first to arrive; the MacDoughall’s, who’s surname translates as ‘son of the dark foreigner.’ This indicates that they were descendants of Vikings (foreigners) who settled in the western highlands and Islands of Scotland, who had intermarried with the Gaels they found there and adopted their Gaelic language and customs, but had still retained the fearlessness and fighting prowess of their Viking forebears. So if you know what to look for you can reveal whether you are directly descended from these fearless Norse-Gaels. I ONLY INCLUDED THIS INFORMATION BECAUSE IT MAY STILL BE TRUE, HOWEVER EXTREMELY RECENT DNA STUDIES OF WHO EXACTLY POPULATED BRITAIN HAVE SHOW THAT THEIR IS ALMOST NO VIKING DNA INFLUENCE IN BRITAIN.  Apparently the Vikings struck, and looted and moved on. We don’t know yet whether the Viking intermingling with the Galloglass clans is valid.

durer albrecht sex galloglras irish renaissance drawing art
Where the galloglass occupied and what clans went where

 

Firstly one can examine surnames, history records the most notable Gallowglass were from the Clans of McCabe, MacDonald/McDonnell, MacDougall/McDowell, MacRory, MacSheehy, MacSweeney, and McCoy. But this was a trade that continued for over 400 years and many Scots Clans got in on the act, so how does one identify other Clans and surnames associated with Gallowglass? Luckily these Scots-Gallowglass can be readily distinguished from the later Scottish settlers that flooded Ireland as part of the Plantation of Ulster in the 16th and 17th Century. This is simply because these later arrivals were Protestant and spoke English, in contrast to the Catholic faith and Gaelic language of the native Gaels and earlier Gallowglass. Religious and language differences meant that these two people rarely mixed which was reflected 300 years later in the 1911 census that showed that Planter surnames could readily be identified based on their 88% Protestant religious affiliation. So if you have a Scottish surname and recent Irish ancestry, and that surname demonstrated a protestant religious affiliation significantly less than 88% in 1911, then your ancestors may well have been Gallowglass.

WHAT’S IN YOUR DNA? WAIT FOR THE SHOCK!

But this surname and historical approach is flawed, leaving one with statistical probabilities. For conclusive proof one must explore commercial ancestral DNA testing. The ancestral DNA test that can establish your Gallowglass-warrior credentials is the Y-DNA37 test. This test looks at the Y chromosome which is passed from father to son through the generations. What you get with the results of that test are the names of people with whom you share a common male ancestor. Typically one will match many individuals with many different surnames, but how can one share a common ancestor with people with different surnames? The answer is quite simple; when one’s direct male ancestor first took his surname approximately 1000 years ago, his neighbours some of whom he shared ancestry with, crucially picked other surnames.

AND HERE’S SOMETHING TO BLOW YOUR MIND BEYOND BELIEF.

HERE’S WHAT HAS ALREADY BEEN ESTABLISHED AS DEFINITE JEWISH HAPLOID GROUPS, WHICH INCLUDES Y-Dna37 testing. YOU’RE ALL JEWISH IF YOU ARE GALLOGLASS and apparently from the lineage of KING DAVID OR FROM THE PRIESTLY CALSS WHICH WOULD HAVE BEEN DESCENDED FROM AARON, MOSES BROTHER!

Y-DNA67 HVR2 R1b1a2 J 0(PRIESTLY CLASS ISRAEL)
Phillip W Kearse
Y-DNA37 HVR2 FF R1b1a2 J 1(PRIESTLY CLASS ISRAEL)
John Caro
Y-DNA37 R1b1a2 0(LINEAGE OF KING DAVID)
Mr. Hopkins Davis Stanley
Y-DNA67 HVR1 R1b1a2a1a1b4 H 1(KINGS OF MANN AND ISLES)
James Patrick Gunn
Y-DNA37 HVR1 R1b1a2 H 1
Alon Barak
Y-DNA37 HVR2 R1b1a2 HV 0 *************RABBI IN ISRAEL NOW)

HOW DID THAT HAPPEN?

MORE TO COME!

 

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CRIMES IN THE ART: THE SECRET CIPHER OF ALBRECHT DÜRER

 

 

FRAUD! Homeland security called in to Salem, Mass, Peabody Museum this is no witch hunt

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Durer’s witch riding the Goat backwards

 

One of Massachusetts’ most prestigious art museums is turning a portrait over to federal authorities because it was bought from a dealer accused of trafficking in stolen antiquities from India.

The Peabody Essex Museum says it will expedite the handover of the mid-19th century Tanjore portrait to the Department of Homeland Security to cooperate with an ongoing international art fraud investigation into dealer Subhash Kapoor (soob-ASH’ kah-POOR’).

The museum acquired the portrait from Kapoor’s New York gallery in 2006. Kapoor was arrested in 2011 and is awaiting trial in India. He has pleaded not guilty.

The Peabody Essex Museum said Friday it has undertaken a “rigorous” internal assessment of its collection and is fully cooperating with Homeland Security. It says the allegations have “sent shock waves through the art community.”

http://www.cbs3springfield.com/story/28717135/museum-turning-over-portrait-bought-from-trafficking-suspect#ixzz3WNhRyIj

WHAT WOULD JESUS REALLY SAY? ENORMOUS WORLDWIDE ART FRAUD

 

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THE LAST JUDGEMENT OF THE SISTINE CHAPEL

IN THIS TIME OF MIRACLES, WHAT WOULD JESUS SAY ABOUT THE TRAIL OF CORRUPTION OVER ART?  THIS IS FILTH OF ENORMITY?  INVOLVES ALL THE CHRISTIANITY, JUDAISM, AND ISLAM.

WHAT WOULD JESUS SAY ABOUT THIS FILTH? WASN’T IT ALWAYS ABOUT TAXES?

The tax man is coming for Guy Wildenstein, and may file charges against a wealth management company in the Bahamas in connection to the case against the billionaire art dealer. The French agency that investigates tax evasion has recommended that a judge charge RBC Trust Company with assisting Wildenstein in tax fraud and money laundering.

The Wildenstein art dynasty was founded in 1875 by Nathan Wildenstein. Guy Wildenstein (Nathan’s great-grandson), now age 70, took over the family business in 2001, after the death of his father. He is now accused of dodging hundreds of  EURO 600 millionS of dollars in French inheritance tax through the use of offshore accounts

This past October, Wildenstein was released on €20 million bail ($21.5 million), essentially a security deposit to be put toward the dealer’s back taxes if he is found guilty

WELL ISN’T THAT CUTE, THE BAHAMAS LAW IS SPECIALLY TAILORED TO TAX EVASION OF ENORMOUS PROPORTIONS-WHAT ELSE IS THE BAHAMAS GOOD FOR?

A spokesperson for RBC, sent out an e-mail Monday stating that those at RBC “strongly contest” the recommendation on the basis that the company “has a duty of confidentiality and cannot comment on clients even to confirm or deny they are clients.” OOH, DO THEY HAVE ANY CLIENTS?

The company also mentioned the recommendation in its quarterly report last month, assuring shareholders that “RBC Bahamas believes that its actions did not violate French law. If charges are brought, it intends to contest them in the French court.”

TAX HAVENS ANYWHERE, WONDER WHERE ALL THE MONEY THEY RIPPED YOU OFF FROM ON WALL STREET WENT?  BTW, THE GUERSNEYS ISLANDS I BELIEVE IS OFF SHORE  FROM BRITAIN?

The Guernsey Islands’ Northern Trust, another offshore tax haven, has also been named in the proceedings.

OOPS, ONCE AGAIN, A LITTLE FRENCH ANTI-SEMETISM WITH YOUR ART.

The tax business is hardly the only battle Wildenstein is fighting. In 2011, 30 paintings that Jewish families had reported as missing were discovered at the Wildenstein Institute in Paris, including an Edgar Degas and an Édouard Manet . Wildenstein has denied the allegations.

WOW, THE MUSLIMS GOT SCARED, QATAR BACKED OUT!

Last year’s sale of the Wildenstein gallery’s New York townhouse to the government of Qatar is also a source of a legal dispute, as the Middle Eastern country has since rescinded its offer to buy the building.

AND SO IN THIS ONE REPORT, ALL THE MAJOR JUDEO-CHRISTIAN RELIGIONS ARE FREAKING OUT OVER THEIR PRIZED POSSESSIONS, PAINT ON CANVAS!  WHY IS ANYONE INVESTING IN ANYTHING ELSE? 

Tax Evasion Case Against Billionaire Art Dealer Guy Wildenstein Exposes Dirty Money Trail