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A second ring was found within sight of Sandal Castle, and then lost….

a love ring from Sandal

On Facebook, I recently reposted an item from a year ago, concerning the above love ring found at Sandal Castle. The following link was the particular article that alerted me about it. There are many more, I am sure. http://www.mylearning.org/learning/creative-writing-at-sandal-castle/The%20most%20interesting%20finds%20from%20Sandal%20Castle.pdf

While looking for more information about this ring, I learned that it is not the only one to have been found in the vicinity. Another, now lost, was found at the spot where the Duke of York is believed to have fallen in battle on 30th December 1460.

This second ring is mentioned in From Wakefield to Towton: The Wars of the Roses by Philip Haigh, as follows:

“The Duke of York fell fighting to the last. Camden says that there was a small space, hedged around, enclosing a stone cross on the spot where the duke fell; and Gibson adds that there, before the civil war between Charles I and his parliament, the owners were obliged, by tenure, to keep the hedge. A very ancient willow long marked the spot but it has been cut down within the last few years. (Hutton in his own work says, ‘the spot was about 400 yards from the Castle, close to the old road from Barnsley to Wakefield, now called from the sign of the public house, Cock and Bottle Lane. The public house is no longer in existence, but its location can be found on the Ordnance Survey map of the 1850s.) On the spot where the duke and his faithful friends made their last stand an antique ring was found. Within it was engraved the words Tour bon amour (meaning either ‘for good love’ or ‘in true love’). And on one side was wrought the effigies of the Virgin Mary, Our Saviour and two other saints. The ring formed part of Thoresby’s [exhibition at the] Museum at Leeds.”

a ring found at Sandal

a ring at Sandal

The book  by Philip Haigh contains a great deal more about the circumstances and location of the duke’s demise, which came about for the same reason that his youngest son, Richard III, was to die. Treachery. Not a Stanley betrayal this time, but one by Lord Neville, who hoisted false colours at a critical time and changed allegiance to the Lancastrians.

To learn a lot of details about the battles of the period, I recommend the book.

Enigmatic signs and messages in a portrait of Richard III….

Everyone knows about Leslau and his theories concerning the Hans Holbein portrait of Sir Thomas More and his family. In Leslau’s opinion, the portrait reveals much about the fates of the “Princes in the Tower”. Another Holbein painting, “The Ambassadors” is also filled with secret messages. Or so it is said. I cannot argue one way or another, because I do not know.

Now it seems there are similar mysteries to be solved in the National Portrait Gallery of Richard III. The hands/rings are crafted to expose cryptic clues and give answers concerning his supposed involvement in the deaths of the same two boys mentioned in regard to the More portrait above.

If you follow this link:-

http://www.holbeinartworks.org/efaqssevenkrichardiiitwentyone.htm you will come to a long article (some 70 pages in all) about Richard III. It details Richard’s activities from early on, for instance, when still Duke of Gloucester, he would not accept a French bribe. It dissects the likes of Commynes and Mancini, revealing how the use of invisible ink (probably lemon juice) added information for certain  eyes only, almost like a 15th-century le Carré. And at the centre of it all is Richard, plotted against and lied about, his fault being to “underestimate his enemies and overestimate his friends”. His fate being to be innocent, yet proven guilty by his self-interested foes, especially the French and Henry VII, often working in unison.

So here we go into the pages of ENIGMAS: THE PRINCES AND THE KING: RICHARD III, which commences:-

“#1. “Apart from the Holbein evidence, does “new” documentary evidence exonerate Richard III from the charge of having murdered his two nephews?” 

“Apart from the Holbein allegations, you ask if “new” documentary evidence exonerates Richard III from the charge of having murdered Edward V and Richard, Duke of York. The short answer is ‘No’. However, if DNA findings are positive it means that new evidence can be added to old evidence that will exonerate Richard III for all time. In the event, we will request further instructions from the inquiry. For the present, we continue to test ALL evidence by NIET criteria. The aim and objective is to plan on paper and build on rock.

“To this end, I offer for the first time some seventy or more pages of abstracts from the files of new NIET positive and negative evidence entitled The Princes and the King : Richard III. The pages are divided in ‘Parts’, 1 through 8.”

Given the length and depth of all this, I trust you will forgive me for not attempting to go into great detail.

This link gives more details concerning the NPG portrait, and in particular the configuration of Richard’s fingers and rings.

I will not spoil it all by revealing too much here, but suggest that if you don’t know about all this already, then an hour or so spent delving through the articles will be rather rewarding. Even if you end up pooh-poohing the whole thing.

Whether one believes such theories or not, unravelling them is fascinating, and always—always—there are some points that have enough ring of truth about them to get us wondering if there’s something in it after all.  Please excuse the awful pun.

Blacksmiths for Gods and Heroes: Tracing the Magical Blacksmith through Myth

Giaconda's Blog

thahgd2gku Hephaestus from an Attic red Kylix vase decoration.

Who Were the Legendary Smiths?:

The figure of the often deformed or maimed blacksmith who forges remarkable weaponry and armour for gods or heroes is a re-occurring archetype in myth across many cultures.

We have Hephaestus in Greek myth who becomes Vulcan in Latin literature and may have travelled with trade routes and language to other cultures or, indeed have been absorbed from other cultures into the Classical pantheon. Both are regularly depicted in art carrying the tools of their trade – the blacksmith’s hammer and tongs.

dia41_h600px.jpg Vulcan – God of fire and volcanoes as well as smith of the gods

Comparative parallels exist in the Ugarit craftsman and magician -god Kothar-wa-Khasis, who is identified from afar by his distinctive walk—possibly suggesting that he limped, and the Egyptian God, Ptah, described as a naked and deformed dwarf by Herodotus. He is…

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