Yesterday the Pope signed a new law that would allow the election of a new Pope to take place earlier. The Italian press is saying Ratzinger is in a awful hurry not to be the Pope because there is a huge scandal involving him that would put a Giant Pee-Stain on the Papacy forever!
For the reason this Pope is removing himself for devious reasons, and because it is possible the Holy Grail once served the Papacy, I am going to show you the Holy Grail. However, I will keep the answer as to whom it served, for my book.
Above is the most damaged and altered works of art in history ‘The wedding Feast at Cana’ by Bosch. The two dogs in the foreground replaced two figures. One of them was Pope Adrien, and I believe the other was my kindred, Gottshalk Rosemondt. In Bosch’s painting are allegedly members of the Swan Brethren, whom are my kindred, the Rosemondts and the Roovers. They are dining on a swan. I believe the swan represents the swan that Parsifal shot with an arrow, because he was a hungry wanderer….a Rover!
When questioned, Parsifal can not tell the inquisitor anything about himself, even his name. After the Swan Knight champions Elsa, he married her under the stipulation she never ask about his lineage. Lohengrin descends from Parsifal.
In Bosch’s wedding we see a red-headed boy with his back turned to us. He is holding a cup that the bride and groom will drink from, this is the Holy Grail. The boy, is the embodiment of Parsifal.
This revelation is also of interest to the children and grandchild of my kindred, Elizabeth Rosemond Taylor. She would be pleased to know that the two sober grandchildren of Royal Rosamond, found the Grail and reborn the Flower Maidens.
In 1987, when I was fifty years of age, I read the Bible for the first time. Late one night I read all of Luke and was – in the light. I closed the book, and my eyes, and prayed to the Savior.
“If you are for real, come into the darkness that we Presco children suffered. Help put an end to the sexual abuse of children everywhere.”
He then appear in the midst that total darkness. There was fine slivers of gold light emanating from him. He spoke’
“I and my Father in Heaven are already working on these things. Be not afraid. Spiritual Courage will be met with Spiritual Courage.”
The Pope is resigning because he knows he has lacked spiritual courage for a long time when it comes the rape of children by Fathers of the church.
And, that is that!
Peace and Courage unto all who hold the true faith, and like good knights, serve the truth! Let the Truth take the seat of honor in all human affairs, and be merciful to those who ask for mercy.
“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 ‘Wedding Feast at Cana’ members of the Swan Brethren do a walk on, they perhaps seeing themselves as modern day Knights of the Round Table. One of these figures lurking in the background may be William of Orange who was a Swan Brethren, and is an ancestor of William and Harry Windsor. This is to say, my long research connects a valid Grail Legend to the Royal House of Windsor, and the Orange Royalty of Holland.
My Grail Quest began when I discovered the Pre-Raphaelite Artists in 1969. I was seeking a spiritual media for my art. Fanny Cornforth was Rossetti’s model for the Holy Grail, Fair Rosamund, and Lady Lilith. Here is Rosemary and her sister, Lilian, two daughters of Royal Rosamond, and Mary Magdalene Rosamond. I shared Rossetti’s Fair Ladies with my late sister, Christine Rosamond Benton, who took up the gauntlet and became one of the most prolific artists in history by rendering modern day Pre-Raphaelite Women. When you add this accomplishment to my Grail study – a family study – then you have a miracle! In our bloodline, it all came together.
Jon Rosamond Presco
“Godeschalck Roesmondt also appears in the so called ‘Spechtbook’ (named after administrator Nicolaus Specht) of the Duke of Brabant, administrating goods the sovereign duke gave in loan to his knights and noblemen.
These families (De Roover, Roesmondt, Van Broeckhoven, Van Vladeracken etc.) are like the Duke of Brabant probably descendants of the former Duke of Lotharingen and therefore (via the counts of Taxandria) of Charlemagne.
The mentioned Jan Willems van Dongen, is by inheritage a bannerlord of the House van Arkel, also descending from Charlemagne and at that time Lord of High and Low Zwaluwe, vicount of Schoonhoven etc. etc. This is the very elite of Brabant at that time and probably all (noble) family related.”
At just this moment, cries are heard from the Knights (” Weh! Weh!”): a flying swan has been shot, and a young man is brought forth, a bow in his hand and a quiver of matching arrows. Gurnemanz speaks sternly to the lad saying this is a holy place. He asks him outright if he shot the swan, and the lad boasts that if it flies, he can hit it (“Im Fluge treff’ ich was fliegt!”) Gurnemanz asks what harm the swan had done, and shows the youth its lifeless body. Now remorseful, the young man breaks his bow, casting it aside. Gurnemanz asks him why he is here, who is his father, how he found this place and, lastly, his name. To each question the lad replies, “I don’t know.” The elder Knight sends his squires away to help the king and now asks the boy to tell what he does know. The young man says he has a mother, Herzeleide, and that he made the bow himself. Kundry has been listening and now she tells them that this boy’s father was Gamuret, a knight killed in battle, and also how the lad’s mother had forbidden her son to use a sword, fearing that he would meet the same fate as his father. Now the youth recalls that upon seeing knights pass through his forest, he left his home and mother to follow them. Kundry laughs and tells the young man that, as she rode by, she saw Herzeleide die of grief. Hearing this, the lad first jumps at Kundry but then collapses in grief. Kundry herself is now weary for sleep, but cries out that she must not sleep and wishes that she would never again waken. She disappears into the undergrowth.
The Marriage Feast at Cana was painted towards the end of Bosch’s early period. The picture is not in good condition; the upper corners have been cut off, many heads have been repainted, and a pair of dogs at the lower left may have been added as late as the eighteenth century.
The marriage banquet has been placed in a richly furnished interior, most probably a tavern. The miracle of the wine jars takes place at lower right; the guests are seated around an L-shaped table dominated at one end by the figure of Christ, behind whom hangs the brocaded cloth of honour usually reserved for the bride; he is flanked by two male donors in contemporary dress. Next to the Virgin at the centre of the table appear the solemn, austerely clad bridal couple; the bridegroom must be John the Evangelist, for his face closely resembles the type which Bosch employed elsewhere for this saint. Although the bridegroom remains nameless in the New Testament account, he was frequently identified as Christ’s most beloved disciple.
Christ and his friends are pensively absorbed in some inner vision, unaware of the evil enchantment which seems to have fallen upon the banquet hall. The other wedding guests drink or gossip, watched by the bagpiper who leers drunkenly from a platform at the upper left. On the columns flanking the rear portal, two sculptured demons have mysteriously come to life; one aims an arrow at the other who escapes by disappearing through a hole in the wall. From the left, two servants carry in a boar’s head and a swan spitting fire from their mouths; an ancient emblem of Venus, the swan symbolized unchastity. This unholy revelry seems to be directed by the innkeeper or steward who stands with his baton in the rear chamber. On the sideboard next to him are displayed curiously formed vessels, some of which, like the pelican, are symbolic of Christ, while others possess less respectable connotations, such as the three naked dancers on the second shelf.
The precise meaning of all these details remains unclear, as does that of the richly gowned child, his back turned to the viewer, who seems to toast the bridal couple with a chalice. However this may be, Bosch has undoubtedly employed the tavern setting as an image of evil, a comparison popular in medieval sermons, thereby contrasting the chaste marriage feast at Cana with the debauchery of the world.
In its transformation of a biblical story, the Marriage Feast of Cana introduces us for the first time to the complexity of Bosch’s thought. It presents, on the one hand, a moral allegory of man’s pursuit of the flesh at the expense of his spiritual welfare, and on the other, the monastic ideal of a life secure from the world in contemplation of God. These two themes were to dominate almost all Bosch’s later art.