Grand Theft of the Stalking Muse

There is no doubt in anybody’s mind, that my muse, Belle Burch – STALKED ME! She was after my WORDS, my, SWORD! She tried to steal my LIFE STORY, but, this is what most women are up to. We men are born in Paradise all by our self, then, she comes along. There is touching and penetration, and in three years she OWNS three children. She fills them with HER WORDS and HER HISTORY. Genesis was written by a woman who knew the family tree like the back of her hand. The point is, my muse has CAPTURED my heart and imagination. We really don’t need to see each other again. She is my Absent Model. Our dueling, our missing touch, is our National Topic. We fence! We run! We chase! Belle brought up the bath scene in Crouching Tiger.

Da Vinci worked on a portrait for ten years. The title of this work in progress, is……

Brain-Cupboard of the Unmentionable Knowing Smile

When I beheld the photo of Bell in her bath, I was looking at the modern Mona Lisa. This is one of the best photographs I have ever seen. It would make an excellent work of art. The balance is exquisite. The showerhead, is closed. The matching handles on the cabinet, is closed. The lines in the title work, or a lesson in geometry. The texture of Belle’s blouse is exquisite. This is the photo Leonardo would have taken. Belle’s smile, is closed, but, is about to open. I might blow this up, open the cabinet, and put Bosch’s garden inside. Notice the mole on Belle’s neck. Which side is it on?

Because Belle is not released from our agreement, I get to do almost anything I want with her image and our story. In time, she will be released, returned to her people in Sleepy Hollow. But for now, I will take her on my Quest. She will ride with the Knight Templars.

Belle has met her match. Belle has met her master.

https://rosamondpress.com/2016/04/12/am-i-the-reincarnation-of-leonardo-da-vinci-4/

Belle Burch wanted more than my WORDS. She wanted the SWORD that came out of my mouth. The HEADLESS HORSEMAN will be going on Crusade with us. What is in a name, dear Belle? THE HEEDLESS ROSEMAN.

Beautiful Belle wanted my head silver-plated and put under her silken pillow. At night, John would whisper in her ear, and she will alas own, what she wanted, for so long, HIS GIFT OF PROPECY! Belle can dance, THE TANGO! She asked after my NAME.

I am in touch with Andre Douzet again after many years. Belle speaks perfect French. Andre and I know about the Egregor, how something conjured up as a hoax, takes on a life of its own. Putting the pumpkin on the Headless One is a Surrealist Exercise. To be chased by Harpies and Gargoyles is to lay The First Stone of a new reality. Artists love this. Belle’s portrait is a surrealist masterpiece. She knew what she was doing.

http://andrewgough.co.uk/interview_douzet/

Below is a video of members of the Sinclair family summoning up their Baphomet. ISIS was defeated this day. But a greater evil arises and comes oozing out of the ground. Why has no one seen this CONNECTION between JOHN, SLEEPY HOLLOW, and the KNIGHT TEMPLARS, before?

John ‘The Nazarite’

Copyright 2017

 

Da Vinci and The Turin Shroud

Did Leonardo fake the face of Christ?

By James Clark, Columnist

You might not realise it but you’ve probably seen Lynn Picknett and Clive Prince before. They’re there as passengers on the double-decker bus taking Robert Langdon (played by Tom Hanks) to London’s Temple Church in the film adaptation of The Da Vinci Code, and their presence in the scene was no accident. Rather, it was an acknowledgement of that story’s debt to their research.

When Dan Brown was writing his best-selling novel, he drew heavily on ideas in Lynn and Clive’s 1997 book The Templar Revelation, which had offered interpretations of Jesus Christ, John the Baptist, and Mary Magdalene that were very different from those presented by the Roman Catholic Church. Unsurprisingly, publication of The Templar Revelation prompted an outcry from various quarters. It was, however, only one step along Lynn and Clive’s esoteric journey.

The Templar Revelation had come about as they continued their research into the works of Leonardo da Vinci, in which they see hidden and heretical symbolism. That same research has now led them to announce a new discovery, one supporting their long-held and controversial belief that the Italian genius was responsible for what might be the greatest fraud of all time – namely, that he faked one of Christianity’s most holy relics.

I asked Lynn and Clive to tell me more.

For the benefit of readers unfamiliar with your books, could you briefly outline your theory regarding the connection between Leonardo da Vinci and the Turin Shroud?

In our 1994 book Turin Shroud: In Whose Image?, revised in 2006 as Turin Shroud: How Leonardo da Vinci Fooled History, we argued that he faked the alleged holy relic – believed to be the actual burial cloth of Jesus, miraculously imprinted with his image and bearing his redemptive blood.

We also argued, based on intensive research, that he created the image using a basic form of photography – a camera obscura – which is why it has puzzled so many people for so long.

And to cap it all, we believe that he used his own face as the model for that of Christ. All of this was not only within his capabilities – he was known to experiment with camera obscuras, for example – but it also perfectly fits his mind-set.

We believe that Leonardo’s Shroud was first displayed in 1494 in a town very close to Milan (where he was working at the time) and replaced an earlier, cruder, and more obviously faked “Holy Shroud” which had been exhibited in France.

An exhibition of Leonardo’s work has just opened at The National Gallery in London, and among the treasures being shown is his painting Christ as Salvator Mundi (Christ as the Saviour of the World), which dates from around 1499. It is this painting that you say presents “compelling new evidence” of a connection between Leonardo and the Shroud. What is this new evidence?

As you can see from the YouTube video (below), the face of Leonardo’s Saviour of the World matches that of Shroudman to an astonishing degree. Given all the other evidence we present in our book to link him with the Shroud, the match between the two images is surely way beyond coincidence. We’ve tried to match the image to many other portraits, but none come anywhere near as close as this.

Watching your video, I can certainly see a resemblance between the Salvator Mundi face and the image on the Shroud, but are you suggesting that both are actually images of Leonardo? Could it not be that Leonardo simply based his painting of Christ on the Shroud image?

Either way, it shows Leonardo had an intimate knowledge of the Shroud of Turin, which is the most important thing as far as we’re concerned because our critics have always said there was no hard or documentary evidence to link the two. Now there is.

The bottom line is that if he’s the man on the Shroud, and he painted the Saviour of the World from it, then yes, both are images of himself.

We weren’t the first or the only people to notice the resemblance between Leonardo and the Shroud. Even some who still believe it is Jesus’ relic have independently mused on the similarity!

The picture you paint (sorry!) of Leonardo is one that has provoked much controversy among art historians. Why do you think this is so?

Art historians tend to dismiss us because we’re not art historians, basically. And if we were talking about anyone other than Leonardo, they might have a point, but in his case there is a major difference.

About Royal Rosamond Press

I am an artist, a writer, and a theologian.
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