Three Swords and a Rose

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“Apart from Sindala and Floris, all the characters are based on historical figures.”

When Paul Verhoeven directed the T.V. series ‘Floris’ he did not know his surname ‘Rosemondt’ belonged to a famous theologian, Gottschalk Rosemondt who was a good friend of Pope Adrien, and, defended Erasmus against a leader of the Dutch Inquisition. Rosemondt may have also tutored the Habsburgs, who may have build the ‘Falcon’ Art College, the first institution dedicated to the arts. Then there is the connection of the Swan Brethren and Hieronymus Bosch. Erasmus speaks of the cardinal of Sion, and numerous orders in a letter to Rosemond, who signs his name with a picture of a rose + mondt.

Paul Verhoeven directed ‘The Sword and the Rose’ a movie that employed unused scene from Floris, and changed the title to ‘Flesh and Blood’ because Walt Disney made a movie ‘The Sword and the Rose’.  Katherine Vandertuin was ‘The Story Teller’ in a play ‘The Cross and the Sword’. This synchronicity are validations ones divine intuition is heading in the right direction in the Labyrinth of Rosamund.

“I always refrain from the outrageous tales told of them too often –and let us hope, without foundation – by common report, and repeated of late at the crowded dinner table of the cardinal of Sion, and have always avoided names of men and even of orders.”

Flesh and Blood (stylized as Flesh+Blood) is a 1985 American-DutchSpanish dramatic adventure film directed byPaul Verhoeven and starring Rutger HauerJennifer Jason LeighTom Burlinson and Jack Thompson. The script was written by Verhoeven and Gerard Soeteman. The story is set in the year 1501 in Italy, during the passing of the Late Middle Ages to the Early modern period, and follows two warring groups of mercenaries and their longstanding quarrel.

The script is partly based on unused material for the Dutch TV series Floris, which was the début for Verhoeven, Soeteman and Hauer. The film, originally titled God’s Own Butchers,[1] was also known as The Rose and the Sword on early VHS releases. It was Verhoeven’s first English language film.
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https://rosamondpress.com/2016/03/16/the-cross-the-sword-the-rose/

Catherine was born three days before Yom Kippur, and I three days after – during an amazing star shower! I compared Belle to Venus. This is like pulling dragon teeth. Belle and I sat down for two hours in a get to know you meeting, and I come away with nothing, and, she has this blog!

Le Femme Fatal in Rosamond’s Labyrinth

I understood from the start that I was in the role of The Hero to Belle. But, I was an old man, and young women and the world – demand the hero be young!  Many were repulsed. How to solve this dilemma is the crux of our story – our movie! Belle asks;

Are you for real?”

I feel like I am posting this – with a brush! Was Belle’s mother a Muse to an artist? Imagine what it was like to follow after her ‘The Great Owl Woman’  this child resigned at such and early age to be in her shadow. But, when I beheld the timeless silhouette of this young woman, who is only free when he does the Tango, I knew the honor that awaited her, for she is the child Katherine and I were destined to have. But, our paths never crossed. However, her daughter by Jeff Burch and I met, and, it was way more that love at first sight, it is destiny fulfilled. The drama that followed is proof we have set an amazing stage. There is a Quest. Belle and I are going back in time to search for the Lost Reformation of Gottschalk Rosemondt, Pope Adrien, and Erasmus. 

I am a young man attending the Falcon Art College. Belle is my model and muse. We are both of the Merovignina bloodline. She is a Roover. Four generations of the Rover family have been Swan Brethren Knights, who worshiped ‘Our Lady’.  Gottschalk Rosemondt is my uncle. I am Rolf Rosemondt. I am before my easel and do not notice the beautiful young woman intently studying me.

Jon Presco

Copyright 2016

“I had written to the rector of the university to protest against the attacks made on me by Egmondamus in the pulpit and he wrote back that if I was prepared to listen in person while he did his tale unfold, we might perhaps come to some agreement.”

1153/ To Godschalk Rosemondt Louvain 18 October 1520

Gottschalk Rosemondt of Eindhoven in Northern Brabant, matriculated
at the University of Louvain on 1499 and remained there until his
death in 1526. A doctor of divinity in 1516, he succeeded in 1520 to
the chair o f theology formerly held by Jan Briart. Like Briart he
was a personal friend of the future Pope Adrian V1. His prominent
position in the theological faculty notwithstanding , he retained an
open
mind towards humanists studies and a measure of sympathy for
Erasmus. This letter is addressed to him in his capacity as rector
of the university for the winter term of 1520-21 (cf Matricule de
Louvain 111-1963) It was published in the Epistolae ad diverse.In
preparation for a confrontations with the theologian Nicolass
Baechem Egmondanus, to be held in the presence of the rector,
Erasmus launches an elaborate protest against his opponent, who had
attacked him from the pulpit of St, Peter’s church on 9 and 14
October,

cf Ep 1162s1162/ To Thomas More Louvain November? 1520

This letter give a spirited account between Erasmus and Nicolas
Baechem
Egmondanus before the rector of the of the university of Louvain,
Godschlak Rosemondt. Printed in the Epistle ad diverse, it was no
doubt composed with a wider public in mind; Thomas More, to whom it
is addressed, need not have been told at length an episode of which
he was himself a protagonist. Erasmus also described the
confrontation with Baecahmen in Ep 1173:29-109

ERASMUS OF ROTTERDAM TO THE RIGHT HONOURABLE THOMAS MORE GRETTING

The story that has reached you about my little dispute with Nicolaus
Egdmondanus in the pressed of the rector of this university is not
wholly true, and yet not quite devoid of truth; such is the way of
rumor, which likes to enhance the facts and tell the story with a
difference. Nor are he and I so much at variance that I would
willingly see him the victim of false reports. So here is the true
story, since I see that in your part of the world you are so idle
you can find time to follow the silly things we do here.

I had written to the rector of the university to protest against the
attacks made on me by Egmondamus in the pulpit and he wrote back
that if I was prepared to listen in person while he did his tale
unfold, we might perhaps come to some agreement. I replied that I
had no objection, though well aware that no lasting good would come
of it. So we met, and the rector took the chair, with me on the
right and Egmondamus on the left. This arrangement was not without
point. He knew Egmondamu’s temperament, and of me he had quite the
wrong idea: he thought I was capable of losing my temper. So he sat
between us, to keep the combatants apart. There upon the rector
opened the subject in a few words, and then, with a countenance of
wonderful and comical gravity Egmondanus began: `I have spoken ill
of no man in my sermon. If Erasmus thinks he has suffered an injury,
let him declare it, and I will answer him.’I asked him whether there
could be a more atrocious injury that to traduce an innocent man in
a public sermon with a string of lies. That roused him at once;
dropping the mask he assumed, and almost purple in the face (his
face was red already, for it was after dinner), `And why, pray, says
he. `do you traduce me in your religious books, `I replied, `your
name is never mentioned.’ Nor has your,’ he retorted, `ever been
uttered in my sermons.’

I denied that my books were religious books, for in them I set down
my down my own imaginings and write whatever come into my head – a
thing, I added, which is not allowed in the pulpit. `Beside which’,
I said’ `I have written for less about you then the facts warrant.
You have told lies about me in public, calling me a supporter of
Luther, whom I have never supported in the sense that the public
reads into your words and you mean yourself.’ By this time he was
not merely exited, he was like a madman. `No, no’, he shouted, `you
are behind the whole lot. You are the slippery customer, the double-
dealer; you can twist everything somehow by the tail.’ And he spewed
up, rather than uttered, much more of the same kind, which
glittering bile at the moment put into his head.I felt my own
hackles rising, and already let out a word which was the forerunner
of rather intemperate language, not exactly `Thou fool’ but
something of the sort that would smell worse then it sounds. But I
controlled myself instantly, thinking it better to respect my won
health ( for I was poorly) and that of the rector, who was also in
the doctor’s hands, beside which it seemed foolish and undignified
to answer a madman in his own language.. So I turned to the rector
with a smile and said,’ I could bring evidence of his outrageous
calumnies, and I could return his abuse. He calls me slippery; I
could call him in my turn a fox..1164/ To Godschalk RosemondtThis
undated letter follows Ep 1153 and Erasmus’s visit to Cologne. It
also report an event that took place on 25 November. It was
published in the Epistle ad diversoss.

ERASMUS TO THE DISTIGUISHED THEOLOGIN GODSCHALK ROSEMOND, MODERATOR
OF THE FAMOUS UNIVERSITY OF LOUVAIN, GRETTING

I have no desire to interrupt you so often with a letter, and yet it
is better for us both. We had enjoyed silence for a time from the
Frisian Domnican who put a gloss long ago on my Moria and since on
my Antibarbari, pouring every sort of rant and calummy on my name
and reputation. And he supposes he is doing right, for this reason
if no other, that I have touched on monks in what I write, although
I always refrain from the outrageous tales told of them too often –
and let us hope, without foundation – by common report, and repeated
of late at the crowded dinner table of the cardinal of Sion, and
have always avoided names of men and even of orders.

thom4

https://rosamondpress.com/2016/05/16/joaquin-and-leonie/

https://rosamondpress.com/2016/03/16/the-cross-the-sword-the-rose/

Le Femme Fatal in Rosamond’s Labyrinth

I understood from the start that I was in the role of The Hero to Belle. But, I was an old man, and young women and the world – demand the hero be young!  Many were repulsed. How to solve this dilemma is the crux of our story – our movie! Belle asks;

Are you for real?”

I feel like I am posting this – with a brush! Was Belle’s mother a Muse to an artist? Imagine what it was like to follow after her ‘The Great Owl Woman’ .

 

Concept[edit]

The success of television series like the British Ivanhoe, the French Thierry La Fronde and the Flemish Johan en de Alverman inspired Carel Enkelaar, manager of NTS (forerunner of NTR) to make a similar series, set in the Netherlands. It was written by Gerard Soeteman. The series, though filmed in black & white, had many reruns through the years. It has also been shown in East Germany and Scotland dubbed in English.

Storyline[edit]

Knight Floris van Roozemond (spelling varies with o/oo, s/z and d/dt), accompanied by the Indian Sindala (Bergman), returns home from a trip around the world only to find his castle occupied by Maarten van Rossum, the commander in chief of Charles, Duke of Guelders. Charles, who controls Guelders, is involved in a power struggle against Philip the Handsome who rules the Burgundian Netherlands, the rest of the Low Countries. Floris had so far been neutral due to his absence, but after he finds his castle stolen, he sides with Wolter van Oldesteijn, who is allied with Burgundy against Charles, Duke of Guelders. Charles and Maarten van Rossum are aided by the Frisian pirate Greate Pier partly as an ally, and partly to do the dirty work.

Historicity[edit]

Apart from Sindala and Floris, all the characters are based on historical figures. Another divergence from history is the presence of the pirate Greate Pier: although a contemporary, he was not active as a pirate before the death of Philip the Handsome. In the series Pier is either guarded or surrounded by members of the Arumer Zwarte Hoop (called “Gelderse Friezen” in the series).

Although intended as a children’s series, it was very popular with adults; for example, Floris’ sword fight with two swords in the castle in the first episode looks surprisingly realistic. The series also had an educational element: customs, like timekeeping with bells and the origin of words such as “vernagelen” (“to spike down”), being explained by example. While Floris is portrayed as a typical knight-hero – not too bright but a good swordsman – Sindala is the clever one, using oriental scientific knowledge for practical applications (which also had educational value).

Locations included the medieval castle of De Doornenburgh, close to Doornenburg in the Dutch province Gelderland (part of the historical Guelders), and the Belgian cities of Bruges and Ghent.[3]

Collaboration[edit]

The series was the first major undertaking of both Hauer and Verhoeven, as well as their first collaboration. It was followed by Turkish Delight (Turks Fruit) and Soldier of Orange (Soldaat van Oranje); ideas not used for the series were later included in the film Flesh + Blood,[citation needed] also directed by Verhoeven with Hauer in the lead role (which also proved to be their final collaboration).

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FLESH & BLOOD, Jennifer Jason Leigh, Rutger Hauer, 1985. ©Orion Pictures Corp

FLESH & BLOOD, Jennifer Jason Leigh, Rutger Hauer, 1985. ©Orion Pictures Corp

 

About Royal Rosamond Press

I am an artist, a writer, and a theologian.
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1 Response to Three Swords and a Rose

  1. Reblogged this on Rosamond Press and commented:

    I delcare the Evangelical cult – dead!

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