Ponthus and Sidonia

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Virginia and Caroline Hambley’s mother is Elizabeth de Bourmont who are closely related to the Rouge, and La Tour-Landry dynasty. They are kin to Bertrand Beauvau was married to Blanche, the daughter of Rene de Anjou. A  Family Renaissance centers around the chanson de geste ‘Ponthus and Sidonia’ and ‘King Horn’ . In Italian it is called a PROSAROMAN. Consider ROSAMAN.


Then there is the Book of the Knight of La Tour-Landry written by Geoffroy de la Tour for his three daughters that was illustrated by Albert Durer. Bertrand was a lover of the arts. This family built many castles that were used as centers of The Muse. They were miniature cities that protected Arts and Literature.

Here is Geoffroy offering The Book of the Knight in the Tower to two of his daughters who are in Virginia’s and Caroline’s family tree.


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I met Virginia when I came to the rescue of Ariel, her neighbor and student of the University of Oregon who was in much distress. Her mother helped her purchase her first home and she was trying to paint it. She did not know what she was doing so I volunteered a couple of days to help. Up on a ladder, Virginia approached;

“Who are you?” she asked with twinkling eyes.

“Who are you?” I responded whimsically.

“I am the owner of this house!” she spoke proudly.

I did not know it at the time that two Renaissance families have met. Gottschalk Rosemont was the Master of Leuven and the Falcon Art College. The Rosemonts were members of the Swan Brethren who commissioned Hieronymus Bosch. Add to this the Benton and Rosamond artistic and literary legacy and one has to wonder if Fate had a hand in the coming together of the Rosamond and De Bourmont families,

Above is a castle belonging to Princess Minnie de Beauvau-Craon. who employs te four lions that Landry Le Tour depicts as four wild men. Guy de Rougemont is France’s foremost artist who descends from the artist, Louis-François, baron Lejeune. This lineage is one of the most literary in French history and are given the prestigious title of “cousin du Roi”, reserved for a few families with an alliance with the royal house. This is why Louis Auguste Victor de Ghaisne de Bourmont worked so hard to restore the Bourbons to the throne of France. Add to this the Fairytales of Charlott-Rose de Caumont de la Force, and we have a real Sleeping Beauty Tale.


But, still we are not done. Virginia descends from the Celts of Brittany, and perhaps, Galicia. Her father, Clarke Hambley, comes from an ancient family in Cornwall, a Celt speaking Peoples who migrated to Brittany. He was an artist. We are talking about a Peoples who celebrate their pagan ways. Above is a photo of Virginia and I demonstrating against the second invasion of Iraq. I am dressed like Merlin. Virginia is a Court Jester who kindred paid homage the most royal people in France.

Last, but not least, Bertrand was a Knight of the Ordre du Croissant that has been described as neo-Arthurian in nature. King Rene was an accomplished artist. There is a Grail associated with Galicia. Did it come over to Brittany from Wales? Sir Lancelot became a Wild Man. Virginia is a Wild Woman.

Here is the blazon of the Landry De La Tour family depicting a red wall that can be the top of a tower, thus the family name ‘of the tower’. What tower? I am saving the answer fr my book. You will be amazed.




Jon Presco

Copyright 2015


The Ordre du Croissant (Order of the Crescent; Italian – Ordine della Luna Crescente) was a chivalric order founded by Charles I of Naples and Sicily in 1268. It was revived in 1448 or 1464 by René I, king of Jerusalem, Sicily and Aragon (including parts of Provence), to provide him with a rival to the English Order of the Garter. René was one of the champions of the medieval system of chivalry and knighthood, and this new order was (like its English rival) neo-Arthurian in character. Its insignia consisted of a golden crescent moon engraved in grey with the word LOZ, with a chain of 3 gold loops above the crescent. On René’s death, the Order lapsed.





The La Tour-Landry, then mesh of La Tour-Landry held the lands of Bourmont since XIVe century. By the alliance in 1691, Marie-Hélène de Maillé de La Tour – Landry (1670-1752) with Marie-Henry, count of Ghaisne (1662-1710), it passes to the family of Ghaisne de Bourmont, to which it still belongs.

In 1773, the Château de Bourmont is the place of birth of Louis Auguste Victor de Ghaisne de Bourmont, author of the taken of Algiers in 1830. Conquest by which it will be made Marshal of France.

It is 29 years that Laure de Rougemont, a descendant of a “modest” line, in the words of his brother, married Marc de Beauvau-Craon. This last, twenty years her senior, bears the name of an illustrious family descendant of Maria Theresa of Austria, paired with the Duchy of Lorraine.”


Guy de Rougemont, born 23 April 1935 in Paris, is a painter and sculptor French, Member of the Académie des beaux-arts. He is the son of general Jean-Louis du Temple de Rougemont.

Louis-François, baron Lejeune On 2 September 1821 he married Louise Clary, sister of general Marius Clary and niece of Désirée Clary, queen of Sweden by her marriage with Jean-Baptiste Bernadotte.


Charlotte-Rose de Caumont de La Force or Mademoiselle de La Force (1654–1724) was a French novelist and poet. Her best-known work was her 1698 fairy tale Persinette which was adapted by the Brothers Grimm as the story Rapunzel.[1]

The family appears now to have been at its greatest height of prosperity and glory. Pontus de la Tour-Landry is cited as knight, lord of La Tour-Landry, of Bourmont, and of Loroux-Bottereau, and baron of Bouloir in the Vendômois; he appears in a record of the year 1424 as giving to the prior and convent of St. Jean of Anvers the tithe of grain in his estate of Cornouaille, and he seems to have held other considerable territories in Brittany and elsewhere.

Great friend of Jacques Cœur and René of Anjou, King of Sicily, Bertrand de Beauvau, renowned art lover, built several castles, as Ternay and Pimpean, including the chapels have remarkable decorations: Pimpean with murals and Ternay which arch bows is the vertical walls are fully carved.

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The House of Beauvau is a very old family from Anjou, titular for several centuries of the seigneurie de Beauvau (Maine-et-Loire) ; of knightly extraction, it traced its evidence of nobility until 1265. It split into two main branches, the Beauvau du Rivau and the Beauvau-Craon, who made career under the Kings of France but also under the Dukes of Lorraine

Related to the counts of Anjou, the Beauvau spent at the service of the Kings of France in the XIIIe century, and the Dukes of Lorraine3 at the end of the middle ages. In 1454, Isabeau de Beauvau (daughter of Louis de Beauvau) married Jean VIII de Bourbon, count of Vendôme ; Isabeau is the trisaieule of King Henri IV, and the Beauvau family was thus recognize the title prestigious cousin of the King, reserved for the few families with an alliance with the House of France, by Louis XIV, then officially by Louis XV in 17394.


Pontus and Sidonia is a medieval prose roman, originally composed in French in ca. 1400, known as Ponthus et la belle Sidonie, possibly by Geoffroy IV de la Tour Landry (d. 1391) or by another member of the La Tour family. It is about Pontus, the son of the king of Galicia, who falls in love with Sidonia, daughter of the king of Brittany. The text is associated with lords of La Tour because it derives the ancestors of that family, whose ancestral possessions were in Brittany, from members of the train of prince Pontus. The story is based on an earlier work, the Anglo-Norman chanson de geste Horn et Rimenhild (ca. 1180).

Several German translations were made during the 15th century (viz., in the period corresponding to the final phase of Middle High German or the formative phase of Early New High German). There is a surviving version in Alemannic German, possibly written in the Old Swiss Confederacy, dated to between 1440 and 1460, and another version in Franconian German, probably written in the region of Trier. Another translation of the French text was made by Eleanor, Archduchess of Austria (1433–1480).

A late medieval Dutch translation Die historie van Ponthus ende die schoone Sidonie survived in an edition printed by Niclaes vanden Wouwere, Antwerp 1564.





THE feudal castle of La Tour-Landry, from which the author of the following book received his name, stood between Chollet and Vezins, in the part of the old province of Anjou which lay between Poitou and Brittany, where its ruins are still visible, consisting of a great donjon, or keep, said to date from the twelfth century. The family of our Knight appears to have been established there at least as early as that date. In the year 1200, a Landry de la Tour, lord of this place, is found engaged in a lawsuit relating to lands; and the names of different members of the family are met with not unfrequently during the thirteenth century. M. de Montaiglon, the editor of the original text of the Knight’s “Book,” who has investigated this question with laborious care, considers that the father of our author was Geoffroy de la Tour, spoken of at the beginning of the fourteenth century as lord of La Tour-Landry, Bourmont, La Galonière Loroux-Bottereau, and Cornouaille, and who, under the banner of the Count of Anjou in 1336, distinguished himself by his courage in the war with the English.

This Geoffroy de la Tour had two sons, our Geoffroy, who was the eldest, and another named Arquade, who is supposed to have been much younger than his brother. The latter, our Geoffroy de la Tour-Landry, appears from his own account to have been present at the seige of Aguillon in 1346. His name again appears in a military muster in 1363. We know that he married Jeanne de Rougé, younger daughter of Bonabes de Rougé, lord of Erval, vicomte of La Guerche, and chamberlain to the king, but we are unacquainted with the date of this marriage, though in 1371 and 1372, when he composed the following book, he must have been married a sufficient length of time to have sons and daughters of an age to require instruction of this kind.

Page  viii

The name of Geoffroy de la Tour occurs several times between the date of the compilation of his book and the end of the century. In 1378 he sent his contribution of men to the army employed in the siege of Cherbourg, but he did not serve in person on that occasion. In the document recording this fact, he is described as a knight banneret. In 1380 Geoffroy served in the war in Brittany, and we find him again in active service in the September of the year 1383. We learn from another document, that at this last date Geoffroy’s first wife, Jeanné de Rougé, was still living; but she must have died within a few years afterwards, for at a subsequent date, which M. de Montaiglon places in 1389, he contracted a second marriage with Marguerite des Roches, lady of La Mothe de Pendu, the widow of Jean de Clerembault, knight. This is the latest mention of the name of our Knight which has yet been discovered among contemporary records; the date of his death is quite unknown, but it probably occurred at some period towards the end of the fourteenth century.

The descendants of Geoffrey de la Tour-Landry appear to have been all active in the turbulent times during which they lived, and through one of them the name became again rather curiously connected with literary history. The Knight of La Tour tells us that he had sons (in the plural); for at the beginning of the book now published he tells us in the original that he had compiled two books, “l’un pour mes filz, et l’autre pour mes filles*. [“Et pour ce ….ay-je fait, deux livres, l’un pour mes filz, et l’autre pour mes filles pour aprendre à rommancier.”—, edited by M. de Montaiglon, p. 4. “And therfor y haue made .ij. bokes, one for my sones, an other for my doughtres, forto lerne hem to rede.”—, English translation, p. 4 of the present, volume.];” and in two other passages of the present book, addressing his daughters, he refers to the book he had compiled for their brothers, “ou livre de voz frères*. [“Comme vous le trouverez plus à plain ou livre de voz frères.“—, chap. lxxxix. p. 175. “Si comme vous le trouverez ou livre que j’ai fait à voz frères.” “As ye shal finde it more pleinly in the boke of youre bretheren.”—, chap. Ixxxix. p. 115 of the present volume.].” Caxton, in his printed translation, has given us at the Page  ixconclusion a little more precise information on the subject, when he makes the good Knight refer his daughters to the other book in the words, “as hit is reherced̛ in the booke of my two sonnes *. [See the present volume, p. 205.].” The passage represented by these words of Caxton is not found in the known manuscripts of the French text; but we may be tolerably certain, from Caxton’s known exactness, that it existed in the manuscript of which he made use, and we are justified in assuming that, at the time when Geoffroy de la Tour-Landry compiled this book, that is, in 1371, he had two sons. He has in no instance mentioned the number of his daughters, but the manuscripts of the original text are ornamented with illuminations, and in these the Knight is always represented as attended by three daughters, for which number the illuminators had no doubt satisfactory authority. Of the history of these daughters we know very little. One of them, Marie de la Tour-Landry, married, on the 1st of November, 1391, Gilles Clerembault, the son of her father’s second wife by her former husband. Marie de la Tour left no issue, and died before 1400, as in that year Gilles Clerembault married a second wife.

This intermarriage of the two families appears to have been favourite idea of Geoffroy de la Tour-Landry, and was perhaps a mere question of family interest. Charles de la Tour-Landry, who was Geoffroy’s eldest son, was married first to Jeanne de Soudé, but this union appears not to have lasted long, for, after her death, Charles married in January, 1389, Jeanne Clerembault, the daughter of his step-mother, and sister of his brother-in-law. Charles de la Tour-Landry was slain at the battle of Azincourt, in October, 1415. There is some confusion in the family history at this time, through the imperfection of the genealogies; but a Geoffroy de la Tour, who was at the siege of Parthenay in 1419, and a Hervé de la Tour, who served in the wars near the same period (his name occurs in 1415 and 1416), are conjectured to have been sons of the author of our book. Charles de la Tour-Landry Page  xhad five sons. The name of the eldest is uncertain, but he is said to have been with his father at Azincourt, and to have died of his wounds soon after the battle. As he died childless, his brother Pontus, the second son of Charles, remained the head of the family. The three other sons, Thibaud, Raoulet, and Louis, died without children. They had at least one sister, who formed a rather high matrimonial connection.

The family appears now to have been at its greatest height of prosperity and glory. Pontus de la Tour-Landry is cited as knight, lord of La Tour-Landry, of Bourmont, and of Loroux-Bottereau, and baron of Bouloir in the Vendômois; he appears in a record of the year 1424 as giving to the prior and convent of St. Jean of Anvers the tithe of grain in his estate of Cornouaille, and he seems to have held other considerable territories in Brittany and elsewhere. He was not unfrequently employed in public affairs, and was present at the battle of Formigrey in 1450. It is only necessary on the present occasion to say that Pontus had a daughter and a son, and that the latter, who was named Louis, had four sons, none of whom left issue; so that with them the male line of La Tour-Landry became extinct.

All the older great feudal families prided themselves on tracing their descent to the chieftains of the fabulous ages of society; and usually each of them had his family romance, which told the story of the primeval heroes of his house, and which was no doubt frequently read by his clerk or chaunted by his minstrel for the edification of his family and his guests. These formed what were called the Chansons or Romans de Geste, which were so numerous in the twelfth and thirteenth centuries, the period when feudalism had reached its greatest development. As feudalism was gradually falling from its original character, the composition of such family romances went out of fashion, and we know of but a small number of instances at periods subsequent to those just mentioned. Thus, at a much later date, in the latter half of the fourteenth century, the family of Lusignan gratified its pride by employing a writer Page  xinamed Jean d’Arras to compile the romance of Melusine, according to which the lords of Lusignan derived their descent from the marriage of one of their great chiefs of early times with a fairy, named Melusine, who every Saturday took the form of a serpent. Pontus de la Tour-Landry was one of the very latest who imitated this example. Ambitious, probably, of rivalling the fame of the Lusignans, he appears to have employed some “clerk” like Jean d’Arras to compile the Roman de Ponthus, intending especially to glorify his own particular name. It is a romance of little merit, but appears to have been at one time rather popular, as it was often printed. Pontus is represented as having been the son of the king of Galicia and of his amours with the fair Sidonia, daughter of the king of Brittany, where part of the ancestral possessions of the lords of La Tour lay. Most of the distinguished companions of Ponthus came from this side of France, and the first of them, and the one who figures most prominently, bears the significant name of Landry de la Tour. The scene is laid in Galicia, Brittany, and England. It is curious now chiefly as forming an incident in the literary history of the Middle Ages.

Far differently interesting is the book which the great grandfather of the real Ponthus, our Geoffroy de la Tour-Landry, compiled himself for the instruction of his daughters. Its interest is the greater from the care its author has taken to make us acquainted with the circumstances and feelings under which it was composed. The good Knight had, as already stated, three daughters, who had been left motherless, and for whose success in the world he naturally felt anxiety. He undertook, therefore, to write a treatise for the purpose of instructing them in all those mental qualities which, in the fourteenth century, were looked upon as constituting the character of a pure and perfect lady. His care to inform his readers in all the particulars relating to the origin of his book is, indeed, quite curious. He lets us know the date when he began it, and that at which it was ended. Page  xii He says that the idea of it came into his head as he was indulging in somewhat melancholy pensiveness in his garden at the close of the month of April in the year 1371 *. [See p. 1 of the present volume.]; and we learn from two other incidental statements in the original text that it was completed in the year 1372. In the forty-ninth chapter he tells an anecdote which, he says, happened in the same year in which he was writing —en cest an, qui est l’an mil trois cens lxxij*. [P. 103 of M. de Montaiglon’s edition; it is omitted in the translation we here publish.]; and in another passage he speaks of the battle of Crécy as having taken place twenty-six years ago—il y a xxvj ans; which, as that battle was fought on the 26th of August, 1346, would give us the same date of 1372. He further tells us in his introduction that he employed in compiling it two priests and two clerks *. [See p. 3 of the present volume.], whose work appears to have consisted in collecting illustrative examples and anecdotes from different writers. Every one aquainted with medieval literature knows how general was this pratice of teaching morals and religion through popular stories and short historical narratives. M. de Montaiglon has further pointed out the fact that the author had commenced his book in the intention of following another practice which was very popular in the literature of this period—that of composing books of instruction in verse. He has shown that in the original the prologue was written in verse, and that the rhythm, and even in great part the rhymes of this verse, are preserved almost perfectly in writing it as prose, until nearly the end of this prologue, when the Knight suddenly tells his readers that it is his design to write it, not in verse, but in prose, that he might be able to write less diffusely, and more simply and easier to be understood: “que je ne veulx point mettre en rime, ainçoys le veulz mettre en prose, pour l’abrégier et mieulx entendre,” or, as our English translation expresses it, “but y wolde not sette it in ryme, but in prose, forto abregge it, and that it might be beter and more Page  xiiipleinly to be understond̛ *. [See p. 3 of the present volume.].” A very large proportion of the stories given by Geoffroy de la Tour-Landry are taken from the Scriptures and from the lives of saints and other similar productions; but, like other moralists of his age, he adopted the stories of the fabliaux, and the tales of the popular conteur, whenever they seemed to suit his purpose, and in his choice he has not rejected some which were better fitted by their want of delicacy to the ears of his contemporaries than to those of modern times. There then existed very little of refinement in word or thought, and, in the best society, both sexes often conversed in terms and on subjects which are in strange discordance with our modern sentiments.

No doubt under the pretext of instructing his own daughters, Geoffroy’s design was to write a treatise on the domestic education of women, and his plan appears to have extended still further, and to have been intended to embrace the other sex also. We learn positively from several passages in the present book, that he had already compiled a similar book for the use of his sons, and, from the way in which he speaks of it, the compilation of this other work must have preceded the book for the instruction of his daughters by some years. “And therefor,” he says at the end of his prologue, “y have made .ij. bokes, one for my sones, an other for my doughtres *. [See p. 205 of the present volume.].” In another place, in warning his daughters against drunkenness, he says, “as ye shal finde it more pleinly in the boke of youre bretheren *. [See p. 115 of the present volume.];” and again, at the close of the book, in Caxton’s translation, the knight is made to say, “as hit is reherced in the booke of my two sonnes *. [See p. 4 of the present volume.].” At least one other allusion to this book is found in the French text; yet, strange to say, nobody has ever heard of the existence of a copy of this treatise for the instruction of the Knight’s sons, nor has any trace of it ever been discovered except in the mention of it in the book of which the translation is now published.

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The book which Geoffroy de la Tour-Landry compiled for the instruction of his daughters, on the contrary, appears to have become extremely popular. Nearly a dozen copies of the original text are known to exist in manuscript, of which seven are in the Bibliothèque Impériale in Paris, and one in the Library of the British Museum. One or two of them date at least as far back as the beginning of the fifteenth century, and two are adorned with illuminations. In the year 1514, the first printed edition of the French text was published in Paris, by Guillaume Eustace, the king’s printer. A second appeared no long time afterwards printed by the Veuve Jehan Trepperel, apparently copied from the edition of Guillaume Eustace. Both are very incorrect.

No other edition of the original text of this Book of the Knight of La Tour-Landry was printed in French until it was included in 1854 by Jannet in the series so well known as the Bibliothèque Elzévirienne. This critical edition was produced under the care of one of the well-known scholars of the medieval literature of France, M. Anatole de Montaiglon, now Secretary of the École des Chartes. M. de Montaiglon has given us, in a very portable and convenient form, a good and correct text, formed chiefly upon the oldest of the manuscripts preserved in the Bibliothèque Impériale and upon the manuscript in the British Museum (MS. Reg. 19 C vii), collated more or less with the others. It is accompanied with notes, and with a rather elaborate introduction, to which I gladly refer my readers.

The popularity of this book soon extended to foreign lands, and it was translated into several languages. The two earliest printed translations appeared in Germany and England very nearly at. the same date. The German translation, made by a knight named Marquard vom Stein, was first printed in a folio volume at Bâle in 1493, under the title of Der Ritter vom Turn, von den Exempeln der Gotsforcht und Erberkeit (The Knight of the Tower, of Examples of Piety and Honour). It forms a large and very handsome volume, with a great number of engravings Page  xvon wood. The Book of the Knight of the Tower seems to have taken greatly in Germany, and it went through rather numerous editions between the date of this of Bâle and the middle of the sixteenth century. It has been reproduced much more recently, in fact so late as 1849, edited by Professor O. L. B. Wolff, as one of the Volumes of popular romances published by the bookseller Otto Wigand of Leipzig. The first edition in English, as we are informed in the colophon at the end, was translated by our first printer, William Caxton, and printed by him. He tells us himself, in this colophon, that the translation was finished on the first of June, 1483, and that the printing was completed on the last day of January, in the first year of the reign of King Richard III. As Richard III ascended the throne on the 26th of June, 1483; as the January in which the book was printed must have followed the June in which the translation was completed; and as we know that in the reckoning of this time the days from the 1st of January to the 25th of March were considered as belonging nominally to the former year and not to the year following, it means, of course, that Caxton’s translation was printed and ready for publication on the 31st of January, 1484; so that the publication of the German translation had preceded it. I enter into these particulars merely because it has been asserted that the date of publication of Caxton’s translation of the Knight of the Tower was January, 1483, and not January, 1484. It is a very singular circumstance that, although Caxton’s translation of the Book appears to have been widely read in England in the sixteenth century, it was never reprinted.

There existed, however, an English translation of the Book of Geoffroy de la Tour-Landry long anterior to that of Caxton, though it was never printed. It is anonymous, and we have no means whatever of ascertaining the name of the author, or, in fact, anything whatever of its history. It is contained in a manuscript in the Harleian collection in the British Museum (MS. Harl. No. 1764) forming a large thin volume, in double columns, Page  xviin a good formal writing of the reign of King Henry VI, so that it is not only part of a manuscript made for a person of some rank and importance, but of a volume which no doubt contained other treatises. This translation is in many respects superior to that of Caxton. The latter is so strictly and often so nakedly literal, that in following the words Caxton has sometimes lost the sense of the original, and this is carried to such a degree that it would be easy to identify the particular manuscript which Caxton followed if it were in existence. The anonymous translation of our manuscript, on the contrary, displays much more freedom, and is more correct. This earlier translation, moreover, furnishes a far more elegant and interesting monument of the English language in the fifteenth century. It is for these reasons that I have chosen it for the text of the present volume. Unfortunately, it is an imperfect manuscript, for there are one or two lacunæ in the body of the work, and it is truncated at the end by nearly one-fifth of the whole. Under these circumstances, the only resource was to supply from Caxton’s text the parts which are wanting in the inedited manuscript.

In other respects, I have endeavoured to give as good an edition of the original manuscript as I could, and I have added a few illustrative notes to such points as seemed to require explanation. In forming my text, I cannot but acknowledge with thanks the assistance I have received from the excellent transcript and collation made by William Rossiter, Esq., to whom also the reader owes the side-notes and head-lines

THOMAS WRIGHT. Sydney Street, Brompton,July 13, 1867



He is the younger son of Jean III de Beauvau and Jeanne de Tigny[1]. He has an older brother, Pierre i. of Beauvau[2].

He began his career in the service of Louis II of Anjou. Its military acts, career diplomat and creditor to the Court of the Dukes of Anjou, namely Louis III of Anjou and René I of Anjou, and Kings, Charles VII of France and Louis XI of France, finally allowed him to amass a considerable fortune[1]. He was also Seneschal ofAnjou, first lay president of the Chamber of accounts in Paris[1] and Senator of theCrescent order.

He married four times, married successively:
Joan of the Tower-Landry,
Françoise de Brézé, for which he built the Château de Ternay in 1439
1456 Ide of the Châtelet
1467 Jeanne Blanche of Anjou (1438-1470) (natural daughter of King René)
and was widowed 4 times. His first three wives will die all the same way: by making the world their seventh child.
Great friend of Jacques Cœur and René of Anjou, King of Sicily, Bertrand de Beauvau, renowned art lover, built several castles, as Ternay and Pimpean, including the chapels have remarkable decorations: Pimpean with murals and Ternay which arch bows is the vertical walls are fully carved.

The House of Beauvau is a very old family from Anjou, titular for several centuries of the seigneurie de Beauvau (Maine-et-Loire) ; of knightly extraction, it traced its evidence of nobility until 1265. It split into two main branches, the Beauvau du Rivau and the Beauvau-Craon, who made career under the Kings of France but also under the Dukes of Lorraine

Related to the counts of Anjou, the Beauvau spent at the service of the Kings of France in the XIIIe century, and the Dukes of Lorraine3 at the end of the middle ages. In 1454, Isabeau de Beauvau (daughter of Louis de Beauvau) married Jean VIII de Bourbon, count of Vendôme ; Isabeau is the trisaieule of King Henri IV, and the Beauvau family was thus recognize the title prestigious cousin of the King, reserved for the few families with an alliance with the House of France, by Louis XIV, then officially by Louis XV in 17394.

Jean IV de Beauvau (1421-1503), Lord of Beauvau and Sermaise in Anjou, inherited her mother Jeanne de Craon the lordship of Craon (Mayenne), and began the Beauvau-Craonbranch. By becoming his wife, baron of Manonvillelaw, he also established this new branch in Lorraine.

On the death of René II de Beauvau (grandson of the above) in 1548, his sons have shared heritage: Claude (died 1597) continued the branch of the Lords of Beauvau, Manonville barons, Lords of Noviant, Tremblecourt, etc., and acquired the lordship of Fléville by his marriage with Nicole de Lutzelbourg . Alophe started the branch of the barons of Rorte (or Rorthey5(, acquired by their grandfather Pierre II de Beauvau Lordship), and Jean began one of the Lords of Panges (seigneurie inherited from their mother).

Legend has it that Black Fulk, Count of Anjou married the daughter of the Devil and the wicked temper and high vaunting ambition of his father in law were passed down the generations, first to the subsequent Counts of Anjou and, later, the Plantagenet Kings of England.

The girl was called Melusine, and the legends differ as to where he found her – some say he met her in the forest whilst out hunting on the Sabbath when he should have been at Mass, others that he went to the Holy Land as though Crusading … but not out of piety, but merely for the love of killing … and there met his wife whilst her father was out stirring up the Saracens.

Wherever he had been, he returned to his castle one day with this beautiful, if mysterious and slightly Moorish looking girl and in due course they were married.

Now Melusine was, in most parts, everything that a Countess should be – beautiful, charming and accomplished, a strong and efficient mistress of her house and a loyal and attentive wife to her husband, and over the years she bore him three fine, strong sons. There was just one problem … the Countess was adverse to attending Mass, and whenever she was persuaded to attend, it was discovered that she had slipped out prior to the moment when the Host was transformed, and whilst Fulk was not much put out by this he was … curious.

One day he prevailed about his wife to hear Mass, and once the Liturgy was well under way he had his knights bar the chapel door and prevent Melusine from slipping out. As the climax of the Mass approached Melusine became more and more anxious and seemed frantic to find a way out until, as the consecrated Host was presented she gave a great scream and, taking on a rather greater resemblance to her Father than she had had up until this point, she sprouted wings and flew out of the chapel window with one of her sons in each hand, never to be seen again.

The remaining son, for whom she didn’t have a hand free, went on to sire the subsequent line of Counts and Kings.


Henry II (1610-1683) was created Marquess of Beauvau by Louis XIV in 1664. His grandson and successor Marc (1679-1754), marquis of Beauvau Craon (1712), also received the marquisate ofHaroué of the Leopold Duke of Lorraine , and built the Castle (or Palace) of Haroué next to the ancient castle of François de Bassompierre. He was made prince of the Holy Roman Empire and created 1st prince of Craon by the Emperor in 17226.

The 2nd prince, Charles just de Beauvau-Craon, had married the daughter of the Duke of Bouillon, which had rank of foreign prince (en) to the Court of France, and Louis XV in 1745 acknowledged the use of the title of prince in the Beauvau-Craon7which were thus admitted to the honours of the Court in 1775.

Jean de Beauvau fills important missions to Louis XL for René of Anjou. II left his duties with life and was replaced on 21 January 1669, by Jean de Lorraine, father of Ferry de Lorraine and cousin of the King of Sicily.

(1) A line of heroic courage is committed on behalf of the mother of Jean and Louis de Beauvau, Jeanne de Craon, last heir to a powerful House of Brittany.

The House of Beauvau was a historic family originating in Anjou. The Beauvau du Rivau branch was rooted in Brittany and produced two bishops of Nantes, whilst the Craon (Prince of Craon) branch was established in Lorraine later enjoying great intimacy with the then reigning ducal family.

As with the comtes d’Anjou, the Beauvaus served the kings of France right up to the 18th century. In 1454, the family allied itself to the royal house of France by the marriage of Isabeau de Beauvau with Jean de Bourbon,Count of Vendôme.

Of knightly extraction, has proofs of its nobility going back as far as 1265. The title of marquis of Beauvau was granted to the head of the family by Louis XIV in 1664. The family also had rights to the prestigious title of “cousin du Roi”, reserved for a few families with an alliance with the royal house.

Marc de Beauvau, Prince of Craon (1679–1754) was entitled prince of the Holy Roman Empire in 1722, and it was under this title that the family was admitted to th

John II, Count of Vendôme (1425 – 6 January 1478) was a French nobleman, son of Louis, Count of Vendôme.[1] He was the eighth Count of Vendôme named John, and the second of his name from the House of Bourbon to possess that county. He was a courtier of King Charles VII of France and fought the English in Normandy and Guyenne. He attached himself to King Louis XI, but was not in his royal favor. He withdrew to the Château of Lavardin and completed its construction.

In 1454, he married Isabelle de Beauvau,[2] daughter of Louis de Beauvau, Seneschal of Anjou and Marguerite de Chambley. They had eight children:



The Honneurs de la Cour (Honors of the Court) were ceremonious presentations to the sovereign at the Royal Court of France which were formal for women but more casual for men. It was a very prestigious honour only granted to the families of ancient nobility. It allowed them to approach the King and the Queen of France.[1]



Marc de Beauvau-Craon (1921-1982)

Marc Charles Louis Joseph Marie de Beauvau-Craon, born in Paris on 3 February 1921, died in the Castle of Haroué on 21 November 1982, was the last prince of Beauvau-Craon.

He married his first wife on 9 December 1952 dona Albina Christina Laetitia Patiño y Borbón, daughter ofAntenor Patiño, ‘King ofTin’ and María Cristina de Borbón y Bosch Labrus, Duchess of Dúrcal, (born in Madrid on August 2, 1932) who gave him two daughters. They divorced November 26, 1958.
He married civilly on 11 January 1972 Laure Odette Charlotte du Temple de Rougemont (born in Tarbes on September 15, 1942, daughter of the general Jean-Louis du Temple de Rougemont), without posterity, former President of Sotheby’s France.
Of its first union are two daughters:
1. Marie Isabella Cristina Adèle Gracie, known as Minnie, Princess of Beauvau-Craon, born in Boulogne-Billancourt on 6 November 1953, wife of Xavier Botana.
2. Marie Diane Christina Isabella, Princess of Beauvau-Craon, born in Boulogne-Billancourt on 20 August 1955, wife of Ahmed Mohamadialal.

“It is 29 years that Laure de Rougemont, a descendant of a “modest” line, in the words of his brother, married Marc de Beauvau-Craon. This last, twenty years her senior, bears the name of an illustrious family descendant of Maria Theresa of Austria, paired with the Duchy of Lorraine.”

The King of Sicily’s fame as an amateur painter[n 1] formerly led to the optimistic attribution to him of many paintings in Anjou and Provence, in many cases simply because they bore his arms. These works are generally in the Early Netherlandish style, and were probably executed under his patronage and direction, so that he may be said to have formed a school of the fine arts in sculpture, painting, goldsmith’s work and tapestry.[1] He employed Barthélemy d’Eyck as both painter and varlet de chambre for most of his career.[citation needed]

  1. Jeanne Blanche (d. 1470), Lady of Mirebeau, married in Paris 1467 Bertrand de Beauvau (d. 1474
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Love and The Marbles


Peter Shapiro and I lived together in two Victorians in the Bay Area. We lived on 13th. Street near downtown Oakland, and a home in East Oakland where I did a painting of Rena Easton in 1971. When my friend, Bryan Maclean, of ‘Love’ died in 1998, I lamented the loss of the three artists God put in this world to accompany me and my gifts. Bryan and I had been the resident artist at University High is West Los Angeles in 1963 – 1964. Marilyn Reed and I created a Beatnik scene, and I drew her at a tea house we found on Sawtell. This became the New Balladeer where Bryan played with his friend, David Crosby. Bryan was also good friends of a Venice Beat named, Sky, who was murdered by my second girlfriend’s father who belonged to the Purple Gang. Bryan dated my sister, who in 1972 became the world famous artist ‘Rosamond’.

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Marilyn is still a good friend of Jazz great, Les McCann. After we broke up she went with Jeff Pasternak to France on a ocean liner. Here she is having dinner with Jeff onboard. Jeff founded a rock group ‘The Mustard Greens’ that played at the Whiskey A Go-Go, where he met ‘The Doors’ that he tried to get in his father’s movie.

“Bryan started playing guitar in 1963/64. He got a job at the Balladeer before it changed its name to the Troubadour Club, playing back-up blues guitar. It was here he met the pre Byrds Jet Set while dating Jackie De Shannon and he became ‘fast friends’ with David Crosby. He moved away from home and by early 1965 he became road manager for the Byrds on their first Californian tour with the Rolling Stones.”

Bryan was a roadie for the Byrds when he was seventeen. We were both on the brink of dropping out of high school that we had outgrown. Bryan told me he was going to got on tour with the Byrds in Europe, but because he was underage, then did not take him. Bryan went to live with the Beat Artist, Vito Paulekas

In 1966 I went with my friend Nancy Van Brasch to see ‘Love’ at the Filmore. Instead of inviting us back stage, he came out into the audience to see me. He was fucked-up, and embarrassed when I noticed. He had dabbled in heroin in Venice where he hung with the Beats. I would read he had a freak-out and broke a big window.

Nancy and I lived in a famous commune in SF, and she dated Stanley Augustus Owsely. Christine Rosamond came to live with us, and she went on a date with Nick Sands. I later got to know members of ‘The Brotherhood of Eternal Love’ who bought me art supplies. I was the Artist in Residence when I lived with ‘The Loading Zone’.

Peter Shapiro, was the founder of the Acid Rock Group ‘The Marbles’ who played at ‘The Tribute to Doctor Strange’  the Longshoreman’s Hall in 1965. A thousand original hippies were there. That is Peter on a bridge in Venice California with Keith Purvis, Tim O’Connor and his girlfriend, and myself. Tim was in love with Christine, who was Keith’s lover, who was Christine Wandel’s lover, who was Peter’s lover, and whom became my lover in 1967. Christine is currently the lover of the New York Artist, Stefan Eins, the founded of Fashion Modem that resembles the Berkeley Experimental Arts Foundation, who are The Open Theatre that presented the Loading Zone and Big Brother and the Holding Company.

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Keith was the lover of Berry Zorthian, the daughter of the artist, Jirayr Zorthian, who was titled ‘The Last Bohemian’. He was influenced by the artist Thomas Hart Benton, whose cousin, Garth Benton, married my late sister, the world-famous artist known as Rosamond. Christine Rosamond Benton lived in the ‘Idles Hands’ commune in San Francisco along with the Zorthian Sisters, and Nancy Hamren, a good friend of the Kesey family. Betty Williams-Zorntian paid the rent. That is Betty playing the guitar to her children. In 1965, when I was eighteen, I dropped acid at Betty’s home in Pasadena, and the Zorthian Ramch.

Here is the testimonial of Alessandra Hart who co-founded BEAF:

“A small group of our friends decided to create the Berkeley Experimental Arts Foundation and we rented a space on College Avenue in Berkeley which we made into a theater, calling it Open Theater & Gallery. Pop Art was just coming in, Andy Warhol was experimenting with it on the East Coast. We opened with a pop art exhibit and a theater piece my husband, Roland Jacopetti, wrote.”

The Loading Zone played at the event these artists and filmmakers put on at the Open Theatre. Here is the missing link between artists and Psychedelic Music that was an intended to be a sideshow to a multimedia happening aimed at expanding your mind, with, or without LSD. We are talking about ART, that would soon be pushed aside, put on the back-burner while The People got it, that they were Art Pieces, living sculptures on a new and very fluid stage. The Muse was everywhere, and in, everyone. No one wanted to look at art anymore and grove on the artist, his or her………..TRIP! Five hundred people were now living galleries with ten million paintings flashing inside their minds every second. There were light shows put on by The Family Dog whose member, Luria Castell, was the first manager of the Zone.

Christine Wandel has become the Muse of Stefan Eins. Christine, Marilyn, Peter, Jeff, and myself all read ‘Autobiography of a Yogi’. Marilyn, Jeff, and myself, lived in the Whiteaker Neighborhood, who block party is two days away. I had a studio and gallery on Blair in 1987.

Jon Presco

Copyright 2015

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The Open Theater, at 2976 College, was a venue for “Happenings” that would now be called Performance Art. The directors were a Berkeley Drama School dropout named Ben Jacopetti and his wife Rain. Among their innovations were a light show that featured significant (if arty) nudity. When the performers auditioned for Tom “Big Daddy” Donahue’s psychedelic nightclub Mother’s on Broadway (home of Carol Doda and numerous topless clubs), Donahue rejected the show for having too much nudity.

The Open Theater seemed to be only open for a year or 18 months, but it was an important part of the scene, as the Open Theater was a big part of the Bay Area underground prior to the Fillmore. Berkeley comedy duo The Congress of Wonders got their start as part of the Happenings and Gary “Chicken” Hirsch (later in Country Joe and The Fish) sometimes played in the house jazz group. George Hunter and Alton Kelly artwork graced the lobbies. Thus the fact that Big Brother’s first public show (on January 15, 1966) was a benefit for the Open Theater seems only fitting. Charles Perry in his book Haight Ashbury – A History (Vantage 1985) has a brief but excellent history of the Open Theater.


The Open Theater  in Berkeley is most famous for debuting Big Brother and The Holding Company, and for being one of the incubators of the Trips Festival, which we have covered elsewhere. Indeed, another blogger discovered a listing in the Oakland Tribune Theater section that listed one of (if not the) first advertisements for “Psychedelic Music” at the Open Theater. Following the lead of this blogger, I reviewed the Theater Sections of The Oakland Tribune for 1965 and 1966, and managed to piece together the brief, but interesting history of the organization. I apologize in advance for any serious Theater scholars who have stumbled across this, as my focus is more on the musical side of the venture.

The Oakland Tribune first mentions the Open Theater on July 21, 1965. Founders Ben and Rain Jacopetti had formed a group called the Berkeley Experimental Arts Foundation “for the presentation and study of new art forms and trends”. After opening on September 30, 1965, the Open Theater began presenting shows every weekend, and sometimes on weekdays as well. The first listing above (under the heading Little Theaters, from the Sunday, November 7, 1965 Tribune) was typical of their Fall 1965 offerings. There was new theater on Fridays and Saturdays, and on Sunday they had “Sunday Meeting,” a spontaneous meeting. Sometimes music was advertised, as presented by either Ian Underwood or The Jazz Mice, Underwood’s trio.

It was the Sunday Happenings that seemed to be one of the precursors to The Trips Festival. According to Charles Perry’s 1984 book Haight Ashbury: A History, there was apparently  multi-media performances, with lights and nudity (too much nudity for San Francisco’s Broadway), music by Underwood and others, an Art Gallery featuring contemporary art, and so on. The bass player for the Jazz Mice was artist Tom Glass, known also as Ned Lamont, and a painting of a huge comic book-style painting of his graced the lobby.

In January, the open theater begins to shift somewhat more towards music. The second (split-up) entry is from the Sunday, January 9, 1966 edition of Oakland Tribune. The Sunday night happening is followed by an apparently musical performance by Day Wellington and The Poor Losers. The next weekend is January 14 and 15, when The Loading Zone and Big Brother make their debuts, in evenings of “rock and roll and theatrical improvisation”.

The weekend of January 21-22-23 was the Trips Festival, in which the Open Theater participated. They surely contributed some multi-media, and Ian Underwood’s Jazz Mice played the first night. On the Saturday night (January 22), Underwood and others presented an avant garde musical performance. The last day of the Trips Festival, however, the Open Theater has its Sunday Meeting as usual, although perhaps some of the regular participants may have been a little worse for wear.

The last clipping is from the Sunday January 23 edition of the Tribune, noting the Happening, and also upcoming musical events. They are

Thursday January 27, 1966
Ramon Charles McDarmaid and Don Buchla, Movies by Bruce Baille
Don Buchla had constructed the Thunder Machine for Ken Kesey’s Pranksters, a sort of electronic percussion device.

Friday, January 28, 1966
Performances by Congress of Wonders and Ned’s Mob, introducing new material.
Congress of Wonders were a comedy trio, also regulars at the Open Theater, who did hip comedy and performance art (they later released a few albums). Ned’s Mob are unknown to me.

Saturday, January 29, 1966
Rock and Roll dance featuring The Loading Zone
This would have been The Loading Zone’s third performance, to our knowledge, the first two having been two weeks earlier at the Open Theater (Jan 14) and then at the Trips Festival (either Jan 21 or 22). The Loading Zone was based in Oakland.

The Open Theater continued to present performances through early March. They presented a John Cage piece on February 4 and 5 (reviewed by the Tribune) and a few other shows. Ian Underwood was now mentioned as the Musical Director, and per the March 12, 1966 Tribune it appears that Ben and Rain Jacopetti had left, and the Open Theater was under new management. However, by the end of March the Open Theater had closed. Ian Underwood said the Theater group was looking for a different space, but it was not to be.


Fashion Moda was founded in 1978 by Stefan Eins. He was soon joined by artist Joe Lewis and William Scott, a young teenager from the neighborhood as co-directors.[1] Defining itself as a concept, Fashion Moda quickly became a strong voice in the New York art world during the late 1970s and the 1980s.[2] Fashion Moda crossed boundaries and mixed metaphors. It helped redefine the function of art in a post-modernist society. Fashion Moda spotlighted such artists as David Wojnarowicz, Keith Haring, Jane Dickson, Stefan Roloff, Jenny Holzer, Mark Kostabi, Kenny Scharf, Carson Grant, Joe Lewis, Thom Corn, John Ahearn, Lisa Kahane, Christy Rupp, John Fekner, Don Leicht, Jacek Tylicki, Stefan Eins himself and graffiti artists like Richard Hambleton, Koor, Daze, Crash, Spank, and many others. In addition to highlighting new talent, Fashion Moda was a major force in establishing new venues. In 1980, Fashion Moda collaborated with the downtown progressive artists organization Colab (Collaborative Projects Inc.) on “The Times Square Show” (June 1980), and Now Gallery which introduced uptown graffiti-related art to downtown art and punk scenes.

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The Legendary Longshoreman’s Hall “Dr. Strange” Dance of October 1965

Until Jack’s arrival, the Airplane had confined their performances almost exclusively to the Matrix, with one exception. The club had been designed with them in mind, they were able to fill the room to capacity each time they played (which wasn’t that difficult as the legal limit was under 300–more often than not there would be twice as many bodies crammed inside), and they liked the place. The band was able to rehearse there during the week without having to set up and take down its equipment each time. Being the house band was ideal for them.

But as the Airplane’s reputation spread, there was more of a demand for their services and, like any new band, they needed all the work they could get. The most pivotal of the first outside gigs was undoubtedly the one that took place October 16th at Longshoreman’s Hall, at San Francisco’s Fisherman’s Wharf, dubbed by its comic-book-loving promoters “A Tribute to Dr. Strange.” Also featuring the Charlatans, the Marbles and the Great Society, the event was presented by a four-person collective calling itself the Family Dog, who took their name in honor of Harmon’s recently deceased pooch and lived together in a communal house on Pine Street. It was billed as a Rock ‘n’ Roll Dance and Concert.

Airplane lineup at the time of the Dr. Strange dance: l. to. r. Jorma Kaukonen, Bob Harvey, Marty Balin, Signe Anderson, Paul Kantner, Skip Spence

It was that last part that hit home with the Airplane. Their music was meant to be danced to, and this nonsense about no dancing being allowed at the Matrix was awfully frustrating.

Elliot Sazer: When people tried to start dancing, the police would stop them. You’re not allowed to dance in San Francisco, unless you’re in a hotel or the place has a special dance permit. And for a very liberal town, this was the craziest law I’d ever heard of in my life.

Joe Buchwald: Marty was always the one who instigated, “C’mon up and dance.” He’d work
the crowd up into a frenzy and then they’d all rush forward to the stage and that’s when all that commotion started.

Alton Kelley: We threw six or seven dances before we even knew we had to have a permit. The city tried to shut it down but once it was happening there was no shutting it down.

A recent photo of Longshoreman’s Hall, San Francisco

Ralph Gleason agreed that San Franciscans should be able to dance to rock and roll. He had mentioned the lack of dancing at the Matrix in his very first Chronicle column on the band. So when the Family Dog members–a young woman named Luria Castell, accompanied by two friends, Ellen Harmon and Alton Kelley–came to see him in October about putting on a dance concert, Gleason was all ears. He said he’d help any way he could.
Castell had been a political activist and had recently returned from L.A., where she’d enjoyed dancing to the Lovin’ Spoonful in a discotheque, wondering why San Francisco couldn’t have the same. Harmon had come to the city from Detroit, quit her straight job and lived in a tree. And Kelley was an artist from Connecticut, into exploring the possibilities of day-glo paint and collage and experimenting with new art forms. The fourth Family Dog member, Jack Towle, didn’t come to that initial meeting.

“San Francisco can be the new Liverpool,” Castell told Gleason right off the bat. She proceeded to outline the plan of this decidedly unbusinesslike troupe, to reunite dancing and rock and roll in San Francisco. In his 1969 book, The Jefferson Airplane And The San Francisco Sound, Gleason wrote, “There was a reason that they picked San Francisco in which to start and it wasn’t just because they all happened to be there at the time.” Those reasons, among others, were that New York was too large and Los Angeles was “super-uptite plastic America.”

But mostly, it was because San Francisco was San Francisco, and that was where it had to happen.

Neither the Family Dog nor Jefferson Airplane were operating in a vacuum. An undercurrent had been bubbling toward the surface for some time in San Francisco, but one group of young renegades from straight society was not always aware of the other. Rock groups were forming all over the place, more of them, it seemed , every day. Same for politically active groups, protesting social conditions and our nation’s policies abroad. Artists were experimenting with new graphic forms and previously unexplored media such as light. New advances in electronics offered previously unimagined directions in which the music could go. Castell, Harmon and Kelley ran this all down to Gleason, how they wanted to bring it all together. They told him about the dance they were planning for Longshoreman’s Hall. Gleason said he’d be there.

Permits were secured, bands were enlisted, handbills were drawn by Kelley and printed by Joe Buchwald, and the word went out.

When Gleason arrived at the hall, he couldn’t believe what he was seeing. Everyone approaching the hall, Gleason wrote in his book, appeared to be going to a costume party. He described men dressed as characters out of the Old West, long-haired girls in longer dresses. There were “riverboat gamblers” and “mining camp desperados,” black leather and brown buckskin. Inside, the scene was even more colorful. The crowd, Gleason reported, danced wildly all night as the bands played. The light show, although primitive by later standards, pulsated to the beat of the music.

“It was orgiastic and spontaneous and completely free-form,” Gleason wrote. He described the happy coexistence of hippies wearing buttons for peace and political types wearing buttons touting the Student Nonviolent Coordinating Committee (SNCC). What also impressed Gleason was that the Family Dog, the promoters, were out there dancing with the rest of them. This was unheard of at traditional dance events!

Jorma Kaukonen: In the beginning, when we first started playing, the audience was mostly sitting down, because that’s what audiences were trained to do then. But then audiences began to realize, “Hey, we don’t have to sit down. It’s rock and roll, for Chrissakes.”

Bill Thompson: I remember long lines of people, holding hands, dancing to the music. I mean, 20, 30 people sometimes, going around in a circle. They’d get caught up in the energy of the music, and the excitement. There was so much freedom. This was not like school dances–that was a whole different story, everything was regulated.

Bob Harvey: Longshoreman’s was the foreshadowing of the psychedelic dance concerts. But it was more than just music and dance. It felt like belonging, like family. It was my last gig with the band. I knew I was going and it felt so bad.

Paul Kantner: Before the dances, we were just the band at a party, because we weren’t connecting with an audience, even at the Matrix. And the party was often much more interesting. I mean, there was a structure there of a stage, and an audience. But, quickly, that wall broke down almost instantaneously.

Bryan MacLean guitarist, singer and songwriter of the cult 60’s Californian band Love, died of a heart attack on Christmas day 1998 in the city of Los Angeles where he was born.

Love were responsible for producing the album ‘Forever Changes’ in 1967 which has long held the reputation with music critics for being one of the finest albums ever made and although Arthur Lee did most of the song writing for the band, it is Bryan’s song ‘Alone Again Or’ from that classic album that Love are generally remembered for.

Born in Beverley Hills, California in 1946, Bryan’s father was an architect to the Hollywood stars and his mother an artist and a dancer. Neighbour Fritz Loew of the composers Lener & Loew recognised him as a melodic genius at the age of three as he doodled on the piano. Bryan’s gift for music was duly noted and he was given piano lessons and taught classical arrangement theory. Bryan’s early influences were more Billie Holliday and George Gershwin rather than Robert Johnson, although he confessed a strong obsession for Elvis Presley. During his childhood he wore out show music records from ‘Guys & Dolls’, ‘Oklahoma’, ‘South Pacific’ and ‘West Side Story’. His first girlfriend was Liza Minelli and they would sit at the piano together and sing songs like ‘The Wizard of Oz’. He learned to swim in Elizabeth Taylor’s pool and his father’s best friend was Robert Stack from T.V’s ‘Untouchables’. At 17 Bryan encountered the Beatles, “Before the Beatles I had been into folk music. I had been showing my art work at a panel shop (I wanted to be an artist in the bohemian tradition) – where we would sit around with banjos and do folk music, but when I saw ‘A Hard Days Night’ everything changed. I let my hair grow out and I got kicked out of three high schools.”

Bryan started playing guitar in 1963/64. He got a job at the Balladeer before it changed its name to the Troubadour Club, playing back-up blues guitar. It was here he met the pre Byrds Jet Set while dating Jackie De Shannon and he became ‘fast friends’ with David Crosby. He moved away from home and by early 1965 he became road manager for the Byrds on their first Californian tour with the Rolling Stones. He managed one more cross-country tour with the group after they hit big with ‘Mr Tambourine Man’ but the exhausting 30 one nighters broke him physically and when the Byrds left for their first U.K. tour in the summer of 1965 they left Bryan behind.

After an unsuccessful audition for a part in the Monkees Bryan got into a car on Sunset Strip which Arthur Lee was driving. Arthur had a band called the Grass Roots doing a residency at the Brave New World Club and being street wise knew Bryan’s ‘connections’ with the Byrds. He knew all of the scene that followed the Byrds would follow Bryan if he invited him to see the band play at the club as the Byrds were out of town and sure enough after a couple of weeks the crowds were lined up and down the street for blocks. Bryan desperately wanted to join the band and he said, “I’d give my right arm to be in your group.” To which Arthur responded “No – you’re going to need it!” The Grass Roots became Love when another group registered a hit with the name.

Love were rapidly gaining a reputation as the ‘street band’ and Jac Holzman’s Elektra Records snapped them up and they hit big with their version of the Bacharach/David song ‘Little Red Book’ and a very successful first album to which Bryan contributed the beautiful ‘Softly To Me’ as well as co-writing two others and the Byrds arrangement of ‘Hey Joe’ which he sang. In a staggering progression in just nine months Love put out their second album “Da Capo” and the storming hit single – a pre punk blast of a song ‘7 & 7 is’. Bryan’s beautiful ‘Orange Skies’ was just one of the “6 sides of an uncut diamond” that formed side one of this classic “flower power” album. As the band threatened to implode with addiction to hard drugs taking hold; sessions for what would turn out to be one of the classic albums of the “summer of love” began.









The Marbles had the following members: Peter Shapiro on lead guitar, Steve Dowler on rhythm guitar, David Dugdale on bass and Ray Greenleaf on drums. The Marbles were a psychedelic and rock group whose most notable performances were at the Tribute to Dr. Strange at the Longshoremen’s Hall in San Francisco on October 15, 1965, and again at the same venue for The Trips Festival on January 21, 22 and 23 along with Jefferson Airplane, The Charlatans and The Great Society. Both Shapiro and Dowler went on to become members of Paul Fauerso’s The Loading Zone.[1][2]

The Whisky played an important role in many musical careers, especially for bands based in Southern California. The Byrds, Alice Cooper, Buffalo Springfield, Smokestack Lightning, and Love were regulars, and The Doors were the house band for a while – until the debut of the “Oedipal section” of “The End” got them fired. Van Morrison‘s band Them had a two-week residency in June 1966, with The Doors as the opening act. On the last night they all jammed together on “Gloria“. Frank Zappa‘s The Mothers of Invention got their record contract based on a performance at the Whisky. The Turtles performed there when their newest (and biggest-selling) single “Happy Together” was becoming a hit, only to lose their new bassist, Chip Douglas (who had arranged the song), to The Monkees; guitarist Michael Nesmith invited him to become their producer (he returned to the Turtles a year later, to produce them). Neil Diamond also played at the Whisky on occasion. Metallica bassist Cliff Burton was recruited by the band after they watched him play a show there.

Arthur Lee, who was originally from Memphis, Tennessee but had lived in Los Angeles since the age of five, had been recording since 1963 with his bands, the LAG’s and Lee’s American Four. He had also produced the single “My Diary” for Rosa Lee Brooks in 1964 which featured Jimi Hendrix on guitar.[3] A garage outfit, The Sons Of Adam, which included future Love drummer Michael Stuart, also recorded a Lee composition, “Feathered Fish.” However, after viewing a performance by the Byrds, Lee became determined to form a group that joined the newly minted folk-rock sound of the Byrds to his primarily rhythm and blues style.[2] Singer, songwriter / guitarist Bryan MacLean, whom Lee had met when he was working as a roadie for The Byrds, joined the band just before they changed their name from the Grass Roots to Love, spurred by the release of a single by another group called The Grass Roots.[2] MacLean had also been playing guitar in bands since about 1963 but picked up music early. Neighbor Frederick Loewe, of the composers Lerner & Loewe, recognized him as a “melodic genius” at the age of three as he doodled on the piano. Also joining the band were another Memphis native, lead guitarist Johnny Echols, and drummer Don Conka. A short time later, Conka was replaced by Alban “Snoopy” Pfisterer. Love’s first bassist, Johnny Fleckenstein, went on to join the Standells in 1967. Fleckenstein was replaced by Ken Forssi (formerly of a post-“Wipe Out” lineup of The Surfaris).

Love started playing the Los Angeles clubs in April 1965 and became a popular local attraction. At this time, they were playing extended numbers such as “Revelation” (originally titled “John Lee Hooker”) and getting the attention of such contemporaries as the Rolling Stones and the Yardbirds. The band lived communally in a house called “the Castle” and their first two albums included photographs shot in the garden of that house

Signed to the Elektra Records label as their first rock band act, the band scored a minor hit single in 1966 with their version of Burt Bacharach and Hal David‘s “My Little Red Book.” Their first album, Love, was released in March 1966. The album sold moderately well and reached No. 57 on the Billboard 200 chart.[2]

MacLean, suffering from heroin addiction,[citation needed] soon left the band, while Lee dismissed all the other members. MacLean later emerged as a Contemporary Christian artist. Echols and Forssi also experienced the ravages of drug addiction and disappeared from the scene. Echols eventually moved to New York and became a very busy studio musician. Arthur Lee, as the only remaining member, convened a new lineup and continued recording as Love.

Today, the band’s critical reputation exceeds the limited success they experienced during their time; their 1967 album Forever Changes is held in particularly high regard and often appears on lists of the best rock albums of all time.[4][examples needed] The band’s influence extends beyond the realm of 1960s psychedelia to such punk and post-punk bands as Television Personalities and The Jesus and Mary Chain, whose William Reid wore a Love t-shirt in his band’s video for “Head On” from their Automatic album. The Damned coveredAlone Again Or” on the album Anything, and the Swedish band The Hellacopters covered “A House Is Not A Motel”. Love have also influenced many 1960s-inspired Top 40 UK acts, including The Stone Roses, The Bluetones, Shack, The Stands, Primal Scream, and Ricky, whose mini-album You Set The Scene was named after a song on Forever Changes.

In tribute, Led Zeppelin‘s Robert Plant cites Forever Changes as one of his favorite albums ever.[6] Jim Morrison’s 1967 personal biography for Elektra listed Love as one of his favorite bands. A tribute album We’re All Normal and We Want Our Freedom – A Tribute to Arthur Lee and Love was released in July 1994.


In 1966 Jeff Pasternak, songwriter, artist and son of legendary film producer Joe Pasternak, was strongly advised by his father not to get involved in Show Business. However, after meeting Elvis Presley on an MGM soundstage Jeff quickly forgot that advice. Months later, out for a good time at the London Fog on Hollywood’s Sunset Strip, Jeff and a friend found their way to a sleazy backstreet bar and Jeff’s life changed forever.

The club was almost deserted as they waited for the new band they’d come to hear. Then, around 9:00 pm Jim Morrison and The Doors strolled onto the tiny dance floor. Jeff was captivated and mesmerized. He recalls that surreal night as one of The Doors very best performances. “I knew after I left the club that night that this was the style of music I wanted to write, and the singer I wanted to sound like.”

Shortly after that evening Joe Pasternak approached Jeff, asking, “What rock and roll band would you recommend for my new movie, The Sweet Ride?” Jeff immediately told him about The Doors, whom Jeff had been following to about every gig they had around L.A. By then, Jeff says, “Their music and energy had saturated every part of my being.”


In a few more weeks Jeff had convinced his friend, John Branca (to later become one of the world’s top music attorneys) to experience The Doors. Two months later, Jeff and John had their own band, The Mustard Greens. “I was on top of the world,” Jeff says, “co-writing original material with John and waiting for my dad to sign The Doors. Who could ask for anything more?” Unfortunately for both the film’s success and music history, Joe Pasternak chose to sign Moby Grape, because they wanted $5,000 less. Shortly thereafter Light My Fire soared up the charts, racking up sales and fans. That’s Show Biz

Then Jeff’s rebel ways at home resulted in a one-way ticket to the sidewalks of Hollywood. “I’ll never forget the family chauffeur bidding good-bye to me and my stereo on a side street one block from The Whiskey a Go Go. A few nights later inside The Whiskey, Jim Morrison was screaming at his parents on stage, and the song, The End, had me questioning my own destiny,” Jeff recalls.

By late 1967 The Mustard Greens found themselves playing right down the street from The Doors at Gazzari’s on the Strip. Then came the Battle of the Bands and the Teenage Fair. “Hundreds of bands entered the contest and thousands of screaming teens cheered us on to second place in a very close race. At least we performed all original material,” Jeff says.

At the end of 1968 music producer Brian Ross discovered The Mustard Greens and quickly put the band into the recording studio. Their first single on Original Sound Records hit the charts at #78 with double bullets. Dick Clark’s American Bandstand‘s national TV audience gave “Cotton Soul” the highest ever rating. By now John and Jeff had changed the group’s name to Mad Andy’s Twist Combo, which didn’t last long. Brian suggested Pasternak’s Progress and that’s what appeared on the record company’s Sunset Boulevard neon sign





Vitautus Alphonsus “Vito” Paulekas (20 May 1913 – 25 October 1992) was an American artist and bohemian, who was most notable for his leading role in the Southern Californiafreak scene” of the 1960s, and his influence on musicians including The Byrds, Love and Frank Zappa.

Paulekas’ “free thinking lifestyle and artistic passion inspired beatniks, aspiring existentialists and Valley girls in need of rebellion.” In 1964, Paulekas offered rehearsal space to the Byrds, and the following year the troupe of free-form dancers, with Paulekas and Franzoni, accompanied the group on their nationwide tour. Later, Arthur Lee and Love also used his premises for rehearsals.[1][2][3][4]

In some clubs, Paulekas and the dancers became as big an attraction as the onstage entertainment. The troupe – including several of the young women later to become known as The GTOs, and members of the Fraternity of Man – occupied the Log Cabin in Laurel Canyon formerly occupied by Tom Mix and later by Frank Zappa.


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Real War of Roses and Thrones

Originally posted on rosamondpress:


Five days ago I informed Virginia Hambley I found a Holy Grail that belonged to the Queen of Galitia, and, her ancestor is the subject of a Grail Romance ‘Pontus of Galicia’. Pontus and his three companions are dressed as the four Lions found in cote of arms. There are illustrations of authors presenting these French Romances. I told Virgnia about the Game of Thrones.

Jon Presco

Copyright 2015




If you appreciate human decency, sexual modesty or a general sense of fair play, then Game of Thrones might sound like something out of your worst nightmares.

Millions would disagree. Game of Thrones is HBO’s most popular TV series of all time, being shown in 170 countries and illegally downloaded more times than any other programme on the planet.

Even David Cameron is a fan, claiming to watch it “on the box set”. A series about the machinations…

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Landry Family Were Kin to Merovingians

Royal Rosamond Press:

On Saturday I will be taking two Hambley sisters, Virginia and Caroline to breakfast. Their mother is Elizabeth de Bourmont a descendant of Geoffrey La Tour-Landry, of Bourmont,

Originally posted on rosamondpress:



brissacThe Landry family were Major Domos to the Frankish Kings. They served them as Mayors of the Palace. The Comte de Bourmont and his ancestors served the Kings of France and did everything to restore the House of Bourbon to the throne. A Landry married a Merovingian Princess.

The Da Vinci Code was taken from this real investigation that led me home, and back to Virginia, whom I love, and who loves me. For sixteen years we have loved one another.

Jon Presco

Copyright 2013

Origin of the Name “Landry”

The family name “Landry” derives originally from an old Germanic baptismal name “Land-rik”, a composite name meaning “powerful land.”1 “Rik” has also been interpreted as meaning “ruler” or “king.”2

The name later evolved into the personal name “Landry,” popular in France during the medieval period.3 “Landry” as a personal name meant “Lord of the manor.”4

Early forms of the name…

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The Grimm Huguenot Fairytales

Originally posted on rosamondpress:


Last night I went to bed believing I would be authoring ‘The Cosmic Carpet Riders’ this morning. Instead I have been launched into the world of German Mysticism, and Woman Artists and Fairytale Tellers. This of course is where I have longed to be, and have been heading all along.

An hour ago I discovered the most famous of Grimm’s Fairytales came from four sisters: Marie, Johana (Jeanette) Amalia, and Susette Hassenpflug. I have yet to discover the original French name and this families place of origin. That they adopted a German surname supports my theory the Stuttmeisters may have been Huguenots. We suspect the Rosamond/Rougemont family were of French origin, possibly the Alsace. That Grim named Sleeping Beauty, Rosamond, takes on a whole new meaning in that four beautiful sisters took over the life and destiny of these two brothers who put their name to work that was not their own. They…

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The Holy Grail of Rosemondt

Originally posted on rosamondpress:

“Much of what we know about the Holy Grail comes from the Grail romances, which appeared out of the area of the Lorraine (formerly associated with the Merovingian dynasty) in the early twelfth century. In fact, Godfrey de Bouillon, our consummate leader of the first crusade, was according to medieval legend and folklore, descended from Lohengrin, the Knight of the Swan; and Lohengrin, in the Grail romances was the son of Perceval or Parzival, the chief protagonist of all the early Grail stories.”

Lotharingen and Lorraine are the same place. It appears my Rover and Rosemondt ancestors formed a confederacy of nobles to rule the extinct Merovingian domain of Taxandria, and called upon Parsival and his son Lohengrin to be their legendary rulers in the form of the Swan Knight who is kin to Godfrey de Bouillon the Grand Master of the Knights Templar, and Duke of Lorraine. In Bosch’s…

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Ariadne’s Thread Frees Helen

Originally posted on rosamondpress:









scan0089Three months ago my niece sent me a message on Facebook. She said she needed to talk to family. She asked me to have Drew Benton call her. I felt for her isolation, her exclusion, for this is what Vick and Mark Presco did to me when I asked too many good questions. When Vicki called me and said;

“We are the only ones left.” I fell for her ruse once again. She said Mark and her had a terrible fight and he disappeared. No one can find him. This is BULLSHIT, for he is the horned beast at the center of the labyrinth, he the lover of money, along with our young sister – and my daughter!

I had threatened not to sign the document that released Rice Trust money to my kindred. I told the attorney my brother was a Tax Evader, and I am about to turn…

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