#Antoine De Beaumont

[nemo-in-wonderland]

And finally, after solidifying them and their backstories and whatnot in 2021, I was able to properly put my Notre-Dame clan on paper!!

FINALLY FML.

I just wanted to do a quick sketch of Mathias today, but then, I HAD to draw Antoine as well.

And then I told myself "Why not drawing Xavier as well, since I am at it?"

And after I was done, I said "you know what? it would be wrong of me to not draw even Claude (plus, Antoine would kill me lol).

SO YEAH.

I QUICKLY JOTTED DOWN ALL OF THEM, AND OMG I AM JUST SO HAPPY WITH HOW THEY TURNED OUT.

Like, they look *precisely* as I saw them in my mind whenever i think about them or I imagine them when I write about them :D

(and my twins. Look at my precious twins. look at them. So precious. One would make you the best tea, the other would kick you Chuck Norris style lololol).

FUN FACT ABOUT THE TWINS.

Antoine and Mathias wear similar clothing because they like to pretend that there is only one "Greencoat" patrolling Paris when, IN TRUTH, there are two and oftentimes, they do this to confound the Templars lol.

I love just drawing all messy, without having to be precise and whatnot, it's very liberating! (and lately I do need to do stuff without focusing too much on precision and more on fun).

Also, I am particularly happy with how Xavier turned out, he resembles his dad a lot!! :D

WELL, TIME FOR ME TO CATCH SOME ZZZZZZZZZZZZ.

Hope you will like them! <3

--Nemo

[nemo-of-house-hamartia]

Do you remember me blabbering about having accidentally erased my cc for The Sims while cleaning my PC?

Well.

I did it.

I managed to find most of them (some are still missing, which is why I am still hunting them down).

and omg I redid my De Beaumont and my Dorothea and I am literally MELTING in my own brainrot for them.

just look at them.

Look at my 4 bebes, my four cinnamon rolls, a big happy family all together.

Just look at Mathias and Colette being TWO HUGE DORKS, because the gods only know, those two spend most of their free time plotting together how to prank Antoine.

And of course, ANTOINE KNOWS THAT. SHE KNOWS. And they have YET to catch her by surprise. That woman is always a step ahead!

And these two just sharing a small kiss hidden away, because they are just two adorable lovebirds! <3

And these two besties right here. They KNOW something is afoot.

I am having so much fun with TS4. Honestly, this is the only thing helping me rest my poor brain a bit between work and having to pack everything for the move (-11 days brrrr).

Just wanted to share what I have been doing in the last few days, and dear gods, the comfort these four bring to my soul.

The way I just love my Notre-Dame Clan.

Ah! also, all of them are spellcasters, so I am working on their "Modern Day Look" and omg I am having so much fun.

I also discovered that I absolutely adore Dorothea with short hair, so I need to draw her like that when I have the time! :)

Well, now it's time to sleep for me! <3

--Nemo

[dreamconsumer]

Antoine de Bourbon, Roi de Navarre.

[mask131]

French fantasy: The children of Orpheus and Melusine

There is this book called “The Illustrated Panorama of the fantasy and the merveilleux” which is a collection and compilation of articles and reviews covering the whole history of the fantasy genre from medieval times to today. And in it there is an extensive article written by A. F. Ruau called “Les enfant d’Orphée et de Mélusine” (The Children of Orpheus and Melusine), about fantasy in French literature. This title is, of course, a reference to the two foundations of French literature: the Greco-Roman heritage (Orpheus) and the medieval tradition (Melusine).

I won’t translate the whole text because it is LONG but I will give here a brief recap and breakdown.

A good part of the article is dedicated to proving that in general France is not a great land for fantasy literature, and that while we had fantasy-like stories in the past, beyond the 18th century we hit a point where fantasy was banned and disdained by literary authorities.

Ruaud reminds us that the oldest roots of French fantasy are within Chrétien de Troyes’ Arthurian novels, the first French novels of the history of French literature, and that despite France rejecting fantasy, the tradition of the Arthuriana and of the “matter of Bretagne” stayed very strong in our land. Even today we have famous authors offering their takes, twists and spins on the Arthurian myth: Xavier de Langlais, Michael Rio, Hersart de la Villemarqué, René Barjaval (with his L’Enchanteur, The Enchanter, in 1984), Jean Markale, Jean-Louis Fetjaine or Justine Niogret (with her “Mordred” in 2013). He also evokes the huge wave and phenomenon of the French fairytales between the 17th and the 18th century, with the great names such as Charles Perrault (the author of Mother Goose’s Fairytales), Madame d’Aulnoy (the author, among others, of The Blue Bird), and Madame Leprince de Beaumont (author of, among others, Beauty and the Beast). He also evokes, of course, Charles Nodier, which was considered one of the great (and last) fairytale authors of the 19th century, the whole “Cabinet des Fées” collection put together to save a whole century of fairytales ; as well as the phenomenon caused by Antoine Galland’s French translation of the One Thousand and One Nights – though Ruaud also admits this translation rather helped the Oriental fashion in French literature (exemplified by famous works such as The Persian Letters, or Zadig) than the genre of the “marvelous”.

Ruaud briefly mentions the existence of a tradition of “quests” in French literature, again inherited from the medieval times, but quests that derived from Arthurian feats to romantic quests, love stories, “polite” novel of aristocratic idylls or pastoral novels of countryside love stories – the oldest being Le Roman de la Rose (the Novel of the Rose, the medieval text began by Guillaume de Lorris in the early 13th century and completed by Jean de Meung one century later), and the most recent L’Astrée (THE great romantic bestseller of the 17th century, written by Honoré d’Urfé). But overall, Ruaud concluded that between the 17th-early 18th century (the last surge of the marvelous, abruptly cut short by the French Revolution and the reshaping of France) and the 1980s (the time during which role-playing fantasy games and the English-speaking fantasy was translated in France), there was very little “fantasy” to be talked of as a whole, a gap that resulted in people such as Gérard Klein declare in the 90s: “Fantasy is a literature made by ignorant people for ignorant readers, and with a true absence of any kind of challenge”.

At least for literature… Ruaud however spends a lot of time detailing the “fantastical” and “marvelous” traditions of visual art – from the stage performances to the movies. There was quite a rich tradition there, apparently. He starts by evoking the massive wave that the release in the United-Kingdom of “The Dream of Ossian” caused. France ADORED Ossianic stuff – even when it was proven that it wasn’t an actual Scottish historical treasure, but a work made up by Macpherson, people still adored it – from Napoleon who commissioned enormous paintings illustrating the Ossianic stories, to the colossal opera by Jean-François Lesueur, “Ossian ou les Bardes”, created for the then brand-new Imperial Academy of music.

There was also the fashion of the “féeries”, a type of stage-show that was all about depicting stories of fairies, gods, magics and other fairytale elements – the “féerie” fashion was at the crossroad between the opera, the ballet and the theater, and in the “dreary, drab and modern” era of the 19th century, people were obsessed with these “little pieces of blue sky” and “golden fairy-clouds”. However, despite the quality of the visuals, costumes and sets (which made the whole power of those féerie, it was their visuals and their themes that drew people in), the dialogues and the plots were noted to be quite bad, simplistic if not absent. The “féeries” were not meant to be great work of arts or actual literature, but just pure entertainment. Gustave Flaubert, right after finishing Salammbô (see my previous post), was exhausted and trying to escape the colossus of the historical novels, he tried to entertain himself by getting into the fashion of the féeries. He read thirty-three féeries in one go, and he was left sickened by so much mediocrity. He decided to create his own féerie that would rehabilitate the genre, and the result was “Le Château des Coeurs”, “The Castle of Hearts”. Nine “tableaux” written by Flaubert on a “canevas” by his friend Louis Bouilhet: “The gnomes, the new avatar of the bourgeois, are stealing the hearts – and thus the ability to love – of humans, to keep them locked up in the vault of the Castle of the Hearts, as their treasure. But the fairies are afoot: they will try to revive love on earth, through two human beings that are said to still have a heart, and to still have the ability to love”. Unfortunately this play, while entirely created, was never actually showed on any stage due to two things. One, at the time the féeries were falling out of fashion and nobody wanted to see them anymore ; two, Flaubert was carried away and placed a LOT of special effects in his play, many which were incredibly more complex than those used at the time. A typical féerie special effect would be for example for a table to turn into a chair, or for a bed to turn into a hammock – but Flaubert demanded for a YOUNG MAN to turn into a DOOR LINTEL.

Anyway… The use of legends and myths was also reigniting in operas thanks to the enormous success of Wagner’s pieces. Claude Debussy created a “Prélude à l’après-midi d’un faune” in 1894, based on Mallarmé’s work (Prelude to a Faun’s afternoon), and later created a Pelléas et Melissande in 1902 based on Maeterlinck. But again… In France, the literature was all about the “fantastique” rather than the fantasy – the supernatural was supposed to be of this disquieting, disruptive, bizarre magic, wonders and horrors that entered the normal, rational, logical reality we all knew. It was the reign of Gautier, Maupassant and Poe through the lenses of Baudelaire). In the 20th century a lot of authors touched upon the “wonderful” and the “marvelous”, but they were discreet touches here and there: André Dhôtel, André Hardellet, Jacques Yonnet, Charles Duits, Henri Michaux, Marcel Aymé, Pierre Benoît, Marguerite Yourcenar, Sylvie Germain, Maurice Maeterlinck, Julien Gracq… Once again, the visuals won over literature – and to symbolize the French fantasy cinema of the 20th century, Ruaud only has to mention one name. Jean Cocteau. Cocteau and his two most famous movies: La Belle et la Bête (Beauty and the Beast, 1946) and Orphée (Orpheus, 1949). They stay to this day the greatest “fantasy movies” of the 20th century.

But unfortunately for France, there never was any “popularization” of the fantasy through media like the pulps of the USA. Science-fiction as a genre was accepted though, to the point that anything that was a “marvel”, a “wonder” or a “supernatural” had to be science-fiction, not magic. The 70s and 80s were the supreme rule of the science-fiction in France: Jean-Pierre Fontana had his stellar ark/arch, Alain Paris his antediluvian continent, Michel Grimaud his spatial colonization, Bernard Simonay his spy-satellites, Hugues Doriaux all sorts of sci-fi gadgets… In this time, if you wanted to do something out of ordinary, you had to go into speculative science, else you wouldn’t be taken seriously. Again, it was Klein’s opinion that fantasy was for “ignorant” readers and writers who didn’t like to “challenge” themselves.

However, in this “desert” that preceded the true fantasy boom of the 90s in France, Ruaud claims that there are actually true French fantasy novels: five “ancestors” of the French fantasy. And those I’ll reveal in a second post…

[lumiereandcogsworth]

im pretty sure uve told me but what are adams parents name

Adam’s father is named Louis Jean-Antoine Charles Michael de Beaumont. He was born October 11th, 1687 and died on June 30th, 1734.

Adam’s mother is named Renée Elizabeth de Beaumont (née Aubert). She was born January 16th, 1700 and died on March 21st, 1728.

[adarkrainbow]

The “great century” of French fairytales: A full chronology

As I announced, previously, La Bibliothèque des Génies et des Fées allowed me to gain access to an exact chronology of the first big “fairytale era” in French literature, its “great century” if you will - and I will put out the chronology below for all of you who are interested in it!

La Bibliothèque divides the “century of fairytales” into five different sections/periods/sub-genres. 

First era is of course the “golden age of fairytales” proper, the “first wave of fairytales”, the beginning of it all - 1690-1709. 

It was the time of Charles Perrault, and of Madame d’Aulnoy, still to this day the two most famous French authors of fairytales. It was when the genre of fairytales began - and when the very name “fairy tales” was coined. This was the start of what is known today as “le conte de fée mondain”, “le conte merveilleux galant”. This genre of fairytale was actually a form of entertainment that was created among upper-class circles - circles of cultured people, of literary enjoyers, the “salons” of the great ladies and courtiers of the time. It was a form of precious, polite, refined, courtly fairytale. 

Beyond Perrault and d’Aulnoy, which I have spoken extensively of and will continue to do in the future, there were many other “first era storytellers”. A lot of them were women, since the fairytales were primarily a “female genre”: Mademoiselle Lhéritier, mademoiselle Bernard, mademoiselle de La Force, madame Durand, madame d’Auneuil, madame de Murat... But there were also a handful of male storytellers taking part of the fun too! Beyond Charles Perrault, there was the knight of Mailly (le chevalier de Mailly), Fénelon, Jean de Préchac, François-Timoléon de Choisy... 

Interestingly, the last volume of the “Golden Age” part of La Bibliothèque actually contains both theatrical adaptations of the fairytales (which were a thing at the end of the 17th century! There’s three comedies based on fairytales in this book) as well as “critical texts” - because already back then the very genre of fairytales was discussed and explored. 

The second era is “The Oriental Fairytale”, from 1704 to 1789.

This is the shift in the fairytale trend that was created by none other than Antoine Galland’s translation/rewrite of “The One Hundred and One Nights, Arabian tales”. This book launched a new wave of “oriental fairytales”, which of course latched onto the newborn “orientalism” movement. 

There was a LOT of works in this era, though to quote just a few we have: “One Thousand and One Days, Persian tales.” by François Pétis de La Croix, who also wrote “Story of the sultana of Persia and of the vizirs”. There was Jean Bignon’s “Adventures of Abdalla”, Jacques Cazotte’s “Sequel to the One Thousand and One Nights”, as well as Thomas-Simon Gueullette’s various fairytales (Which range from Breton-originating tales to Peruvian tales, passing by another knock-off of Galland’s work “One Thousand and One Quarters of Hours”). 

As you can see, unlike the first era of fairytales, which were mostly turned towards things inspired by European folklore and released in short formats, these “oriental fairytales” were all about “exotic” inspirations from Arabia to China, and about huge collections of tales (or titles promising a LOT of tales). 

Third era overlaps with the second: it is the “second wave” of fairytales, or if you prefer the “return of fairytales”, from 1715 to 1775. In the first wave, storytellers were inventing never-seen before stories and creatng a genre ; in the second wave it was all about doing stories in the spirit of the first storytellers, exploring and growing the newborn genre. 

The most famous fairytales out of these ones are without a doubt those of madame Leprince de Beaumont - who wrote “Beauty and the Beast” for her “Magasin des enfants” (Children’s Shop”), though there was an alternate version written shortly prior by mademoiselle de Villeneuve. Beyond these twos, this was also the era of other fairytale writers such as the Count of Caylus, madame Levesque, madame Le Marchand, madame de Lintot, mademoiselle de Lubert, Henri Pajon, Moncrif... 

The difference between the 17th and 18th century fairytale is quite notable in its aim and goal. Because while the “first wave” fairytales were about making mostly a literary work, an entertainment, creating an aesthetic and something pleasant - this second wave of writers started to focus on making the fairytales useful. This is where we start seeing “pedagogic” fairytales, fairytales relying heavily in morals and teachings - and we are actually on the road to the “moral literature for children” that will appear in the 19th century, inspired by these fairy tales. 

The fourth era could be considered a sub-category to the third, or rather a... counter-point. You see the “revival of fairytales” after the “Oriental hit” actually split into two. On one side you had people who wrote fairytales seriously, with moralist and pedagogic goals, trying to make these story into teaching-tools - the era described above. And then there were people who continued the fairytales - but with no actual serious object in mind. This was the time where the libertines took over the fairytales, from 1730 to 1754, and the fairytales they created were either parodies of fairytales, either “licentious” fairytales - and sometimes both, as humoristic erotic fairytales! It was the time of Antoine Hamilton, Jean-Jacques Rousseau, Henri Pajon, Jacques Cazotte, Charles Duclos, Diderot, Crébillon, and many more... You have to understand that, by this time, we were in the full-on “Enlightenment” era, the “rule of reason and logic” over mankind. So a genre that was not logic or reasonable, a genre of wonders and supernatural and extravagance like fairytales had to be either “repurposed for the sake of reason and logic” (the third era of “pedagogic and moral fairytales” above), either mocked and denounced to better highlight the qualities of reason and logic. Which was the case here.

The fifth and last era would be the “end-of-century” fairytales, what La Bibliothèque calls “Féeries fin de siècle”. All the fairytales that were written around the publication of “Le Cabinet des Fées” - the last fairytales of the dying trend, worn-out fashion, weakening passion. The remnants of a genre that would disappear from the top of the charts, the literary discussions and the big events of the book-world up until the next turn of the century. These are the fairytales written between 1770 and 1796 : Beauharnais, Papelier, Willemain d’Abancourt, Mortemart, Regnier, Desjardins, Beckford, De Flahaut, Mérard de Saint-Juste and many more.The last of the “great storytellers” - the end of the “century of fairytales” in France.

[grayrazor]

Publication Dates of the Fairy Tales that became Disney animated movies

Snow White (Brothers Grimm): 1812

The Adventures of Pinocchio (Carlo Collodi): 1881

Cinderella (Charles Perrault): 1697

Alice's Adventures in Wonderland (Lewis Carroll): 1865

Peter Pan (J. M. Barrie): 1904

Sleeping Beauty (Charles Perrault): 1697

The Sword in the Stone (T. H. White): 1938

Robin Hood (Howard Pyle): 1883

The Black Cauldron (Lloyd Alexander): 1965

The Little Mermaid (Hans Christian Anderson): 1837

Beauty and the Beast (Jeanne-Marie Leprince de Beaumont): 1756

Aladdin (Antoine Galland): 1717

Chicken Little (John Greene Chandler): 1840

The Frog Princess (E. D. Baker): 2002

Rapunzel (Brothers Grimm): 1812

The Snow Queen (Hans Christian Anderson): 1844

[americaistheoldworld]

Knights of the Order of the Crescent

Knights of the Order of the Crescent is a worthy discussion since we know that the crescent moon is an indigenous symbol from Southern Arabia, aka, Mexico, since Mexico was Southern Arabia and Mexico means, “In the center of the Moon”: https://rb.gy/himgj1.

#foogallery-gallery-3261 .fg-image { width: 150px; } #foogallery-gallery-3261 .fg-image { width: 150px; }

Map of Mayaca, Florida (Ethiopia)

There is a town in Ethiopia called Mayo, Ethiopia. The name Mayo is the same as Maya (Mayans), so we are dealing with the Mayans. There was once a Mayan city in Florida called Mayaca (see post image of map), which is further proof that the Mayans established La floridas (Ethiopia Superior/ Tameri). This city was obviously named after the Mayas/ Mayans since we can see their tribal name of Maya in Mayaca (Maya-ca). Mayaca is now extinct and so is the Mayaca Tribe (Mayaca people), and we can blame the Spanish invasion (the Holy Wars) of the 1500's for their extinction; however, Florida still has Port Mayaca as evidence of a city now gone.

Duke of Milan (1454);

SFORZA (François-Alexandre) Quarterly: 1st and 4th Or, to the eagle Sable crowned of the first (LOMBARDY); 2nd and 3rd, Argent, to the bisse Azure in pale, crowned Or, giving birth to a child Gules (VISCONTI-MILAN). Duke of Milan (1454); natural son of Muzio Attendolo dit Sforza, lord of Cotignola, and Lucrezia Trezana or Tresciano; husband: 1° of Polyxène Ruffo, widow of Jacques Marilli (?) Grand Seneschal of the Kingdom of Naples, daughter of Charles Ruffo, Count of Montalto and Corigliano, and of Cevarella de Saint-Séverin; 2° (August 1, 1441) of Blanche-Marie Visconti, natural daughter of Philippe-Marie Visconti, Duke of Milan; born at San-Miniato (Tuscany), July 25, 1401, died at Milan, March 8, 1466.

First Baron of Maine, Viceroy of Sicily and Anjou

CHAMPAGNE (Peter I of) Sable, fretty Argent; a chief or charged with a lion issanl gules (1). Currency (2): Sta closes. Lord of Champagne, Pescheseul, Lonvoisin, Bailleul and Parcé, Prince of Montorio and Aquila, First Baron of Maine, Viceroy of Sicily and Anjou; third son of Jean III of Champagne and Ambroise de Crénon; married, according to contract of April 22, 1441, with Marie de Laval, sister of Guy de Laval (see this name), and daughter of Thibaut and Jeanne de Maillé-Brézé; died in Angers, almost a hundred years old, on October 15, 1486, and buried on the 22nd of the same month, in the church of Saint-Martin de Parce (3). This valiant knight, who had distinguished himself in many battles, won two great victories against the English: the first in 1442, in the plain of Saint-Denis d'Anjou, and the second in 1448, before Beaumont-le-Vicomte. The following year, Jean d'Anjou gave him the order to help Charles VII against the English, and he covered himself with glory at the Battle of Formigny (1450).

ANJOU (Charles I of) Count of Maine

ANJOU (Charles I of) Azure, semé of fleurs-de-lis Or, to the lion Argent set in quarter; bordered gules. Count of Maine, Guise, Mortain, viscount of Châtellerault, lieutenant general for the king in Languedoc and Guyenne; third son of Louis II of Sicily and Yolande of Aragon; married: 1°, before 1434, with Cobelle Ruffo (2), widow of Jean-Antoine Marzano, Duke of Sessa, Prince of Rossano, daughter of Charles Ruffo, Count of Montalto and Corigliano, Grand Justice of the Kingdom of Naples, and of Cevareila de Saint-Séverin (see this name); 2°, by contract of January 9, 1443, with Isabelle de Luxembourg, daughter of Pierre de Luxembourg, count of Saint-Pol, and of Marguerite des Baux; born in the castle of Montils-les-Tours, October 14, 1414; died at Neuvy, in Touraine, on April 10, 1472, and buried in the church of Saint-Julien in Le Mans. (2) Through this alliance, Cobelle Ruffo had become the sister-in-law of three kings, Louis III of Sicily, René of Anjou and Charles VII. Polyxène Ruffo, his sister, first married François-Alexandre Sforza (see this name).

Baron of Mison

AGOULT (Fouquet or Foulques d') Or, to the ravishing wolf Azure, armed, langued and vilené Gules (1). Baron of Mison, of La Tour-d'Aigues, of Sault and of Forcalquier, lord of Thèze, Barret, Volone, La Bastide, Peypin, Niozelles, etc., chamberlain of René d'Anjou, viguier of Marseilles (1443, 1445 and 1472); son of Raymond and Louise de Glandevès-Faucon, his second wife; married: 1° with Jeanne de Beaurain; 2° with Jeanne de Bouliers; died without posterity at La Tour-d'Aiguës in 1492, nearly 100 years old. Fouquet d'Agoult had been nicknamed by his contemporaries the Great and the Illustrious, in view of his love of justice, his magnificence and his liberality. Nostradamus (2) reports that "after the death of this so good and so excellent Roy (René d'Anjou) several and various eulogies, epitaphs and learned compositions were placed on his tomb, in the church of the Convent of the Carmelites of the City of Aix...The eulogies were in various languages, Hebrews, Greeks, Latins, French, Italians, Cathalans and Provencals, which the magnificent Fouquet d'Agoult, lord of Sault, had collected and transcribed exactly by the express command de la Reyne his second wife.

Moslem-Jerusalem under the Order of the Cresent, 1070

Muslem-Jerusalem from 1070 under the order of the Cresent. Moslem-Jerusalem, which looks very Moorish with the Crescent moons at the top of those Maurice domes. I love the Phoenician purple trim too at the top. This image is a full-page miniature of Jerusalem and the Dome of the Rock Image taken from feature 5 of Book of Hours, Use of Paris ('The Hours of René d'Anjou'). Written in Latin, calendar, and rubrics in French.

King René of Anjou

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 of Naples, the 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 Order of the Crescent, also known as "Order of the Crescent in the Provence,” a French chivalric order was founded on 11 August 1448 in Angers by King Rene of Provence as a court order. The order, which united itself, features from knighthood and spiritual orders, and counted up to 50 knights, of which can be dukes, princes, marquises, viscounts and knights with four quarters of nobility.

A French Canadian Maur by the name of Ann Marie Bourassa sent me a link to the Armorial Chevaliers (Knights) of the Order of the Crescent and the images in this post spoke to my DNA, since my maternal surname, “Chavis” means the Goat and Brave boy: https://rb.gy/qk2k10.

Chavis/ Chavers is also short for Chevaliers, since the Chavis are a Royal family of knights that is associated with bravery and passing the BAR. Chevaliers is French for Knights since the number one code of the knights is chivalry, which means bravery. During the old-world chivalry (honor) was established from being brave in battle, and cavalry is another word that is derived from chevaliers since cavalry means an army of mounted braves (Knights) on horses.

In 1066 during the Battle of Hastings, my French royal family of Shivers, which is French for Chavis, as knights, helped the French Viking King, “William the Conqueror,” a Danite, conquer England with the aid of two dragons and were given the Shivers Mountains in England by William the Conqueror due to the acts of Chivalry (bravery=Knighthood) on the battlefield: https://rb.gy/n9vlao.

Here is the link to the Armorial Knights of the order of the Crescent: https://rb.gy/y2hpa4. This link is in French, but you can use Goggle Translate to translate the French into English.

Please, avoid the hijack with the whitewash when reading the Armorial Knights link, because the original French were the Franks or Gauls (Gullah Geechee/ Galilee), and they were French Maurs (Merovingians): https://rb.gy/posjrm.

“Franks (Franci), a Germanic people who conquered Gallia (Gaul), and made it Francia (France).” [End quote from Oxford Classical Dictionary]. “Gaul, French Gaule, Latin Gallia, the region inhabited by the ancient Gauls, comprising modern-day France and parts of Belgium, western Germany, and northern Italy”: https://www.britannica.com/place/Gaul-ancient-region-Europe.

The Americas has the most place names associated with Gaul/ Gales/ Gules/ Gola/ Galley/ Gullah/ Galilee/ Gaelic (France). For example, Galesburg, Illinois; Galilee, Pennsylvania; Angola, Louisiana; Angola, Indiana, etc. Some of the African slaves allegedly came from Angola, aka, the Congo (Congo, Alabama*), which is a country allegedly in Africa on the Slave Coast. Gola, which is short for Angola (An-Gola), is also Gula as in Gullah Geechee – Seminole and Creek (Greek) Indians: https://msuweb.montclair.edu/~sotillos/moore.htm.

Guale was a historic Native American chiefdom (Tribe) of Mississippian culture peoples located along the coast of present-day Georgia and the Sea Islands. This tribe of Guale Indians were Maurs (Maur-iners as in Marine and Mar/ Mer as in sea), aka, Sea people. Guale was once a city on the Sea Coast of Georgia that is now extinct and so is this tribe of Indians (Washitaw Muurs = Yamasees and the five civilized tribes), due to Spanish conquest: https://www.americaistheoldworld.com/gibraltar-of-the-west/.

In South America we have the Spanish equivalent to the Gullah Geechee, the “Gualeguaychú.” Gualeguaychú is a city in the province of Entre Ríos, Argentina, on the left bank of the Gualeguaychú River (a tributary of the Uruguay River). In Mexico, we have Guatemala, which is a derivative of Gaul since the prefix Guate in Gutemala is Gaul.

This book, “Africa vs. America,” demonstrates that Europeans copied ancient Ghana that was in South America (Guyana) and built a second Ghana on the other coast [Africa], which is known as Congo or Angola. Africa vs. America,” by Isabel Alvarez: https://www.americaistheoldworld.com/ancient-ghana-is-guyana/.

This FB post deals with a French Merovingian Queen, nicknamed “The She Wolf,” since she convinced a Baron (wizard), Lord Roger Mortimer, to help her to overthrow her gay husband, King Edward II of England to take the crown: https://rb.gy/7g9b4s.

Speaking of the She Wolf, the Capitoline Wolf is the She Wolf and is a symbol of the founding of Rome. The wolf is a sacred symbol of the Turks and the Danites. The Americas has 13 Capitoline Wolf Statues, which suggests that the greater Rome or Imperial Rome was in the Americas. Rome is derived from the Egyptian word Ramen and the Hebrew word Rimon, which means pomegranate. The pomegranate is a symbol of Granada Land (the promised land), which was in the Americas: https://www.americaistheoldworld.com/imperial-rome-and-italy-superior/.

The Armorial Knights of the order of the Crescent has a few coats of arms with the She Wolf in the center of the moon. Mother Mary/ Maya/ Meru, aka, the Queen of Heaven, is shown in many images as the Venus Star Transit, which is the Mayan 5-pointed Star, standing in the center of the crescent moon. The wolf is code for the Dragon, aka, the constellation Draco when its Star Theban was the Pole Star or the North Star.

Who was Rene d’Anjou?

In this post are some images of the Royal Knights’ coat of arms of the Order of the Crescent, instituted by King René d’Anjou, ms. Fr. 5225. Statues of the Order of the Crescent, founded by René d’Anjou (1448), ms. Fr. 25204. (Source: gallica.bnf.fr, National Library of France).

The Ordre du Croissant (Order of the Crescent; Italian: Ordine della Luna Crescente) was a chivalric order [knights’ order] founded by Charles I of Naples and Sicily in 1268. It was revived in 1448 or 1464 by René I of Naples, the 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 three gold loops above the crescent. On René’s death, the Order lapsed.

The Armorial Knights of the Order of the Crescent, also known as “Order of the Crescent in the Provence,” a French chivalric order was founded on 11 August 1448 in Angers by King Rene of Provence as a court order. The order, which united itself, features from knighthood and spiritual orders, and counted up to fifty knights, of which can be dukes, princes, marquises, viscounts, and knights with four quarters of nobility.

The Knights committed themselves to mutual assistance and loyalty to the order which, after the Provence became part of France in 1486, was soon forgotten. Ackermann mentions this knighthood as a historical order of France.

In this post is a poorly whitewashed image of King Rene of Anjou since he is still swarthy (dark/ Black) in his image. King Rene was the grandson of King John II of France, aka, John the Good, who was undoubtedly a Naga/ Negro: https://rb.gy/onckrm.

René of Anjou (Italian: Renato; Occitan: Rainièr; Catalan: Renat; 1409–1480) was Duke of Anjou, King of Jerusalem, King of Sicily, King of Aragon (Gules), and Count of Provence [Province, Maine*] from 1434 to 1480, who also reigned as King of Naples as René I from 1435 to 1442 (then deposed as the preceding dynasty was restored to power). Having spent his last years in Aix-en-Provence, he is known in France as the Good King René (Occitan: Rei Rainièr lo Bòn; French: Le bon roi René).

René was a member of the House of Valois-Anjou, a cadet branch of the French royal house, and the great-grandson of John II of France. He was a prince of the blood, and for most of his adult life also the brother-in-law of the reigning king Charles VII of France. Other than the aforementioned titles, he was for several years also Duke of Bar and Duke of Lorraine.

René was born on 16 January 1409 in the castle of Angers.[2] He was the second son of Duke Louis II of Anjou, King of Naples, by Yolanda of Aragon.[2] René was the brother of Marie of Anjou, who married the future Charles VII and became Queen of France.[3]

Anjou is just a Latinized way of saying Andros/ Andrews, so we are dealing with Saracens (old Arabs) of the lost 10 lost tribes of Israel that were descendants of the first Apostle Saint Andrew: https://the-red-thread.net/genealogy/andrews.html.

Greater France or France Superior in the Americas:

If you have read my post about Imperial Rome and Italy Superior you already know that Italy Superior was La Floridas and there is also a Naples, Florida, which suggests that Rene Anjou was once the king of Naples, Florida since La Floridas was the original Italy. Remember that France borders Italy, which means that since Italy Superior was in the Americas Greater France or France Superior was also in the Americas.

Now, if we include Gules/ Gual (Aragon) and Maine, it leaves no doubt that this history is referring to Greater France in the Americas since the Imperial Rome and Italy Superior post proves that Africa, Europe, and the Middle East was originally in the Americas.

Maine and the New England states were once part of the Nova France and this territory was once known as Nova France (New France), according to old maps from the 1500’s – 1700’s, however, we know that it is nothing new about Nova France since the Americas is the East (the Orient) and the old world. Maine also has a Bar Harbor, now a resort for the wealthy. Notice that when you read the description of the coat of arms in the Armorial Knights link you will see a few references to Bar and Maine, which suggests that ancient Frankish (French) history is referring mostly to the Americas.

France borders Italy, according to modern-day maps, therefore, this post is more evidence confirming that the original France was in the Americas since Florida was Italy Superior.

King Anjou was born and buried in Angers, France. Angers sounds a lot like Algiers, Louisiana. Algiers was part of the Ottoman Empire that was originally in the Americas: https://www.americaistheoldworld.com/the-ottoman-empire-in-the-americas/.

The French and the Ottoman Turks as Moormans (Danites=Vikings=Sea people) were blood allies against Spain (Rome) during the Crusades or Holy Wars. Louisiana has France written all over it since Louisiana is called Cajun Country. Plus, the prefix of Louis in Louis-iana is a French name that is associated with a long list of French Kings. Cajun and Acadian (Akkadian) are the same word. In fact, Louisiana used to be a part of the Acadian Republic. Louisiana is called the boot kicking state since Louisiana is shaped like a boot, and so is Italy and Florida. Louisiana has a French Quarters and the people called themselves Cajuns (Acadians).

Additionally, the city of New Orleans, Louisiana, is called the Crescent City and it shares the same place names as Orleans, France. Louisiana also has Parishes (Parish=Paris), which is derived from Paris, as in Paris, France. Paris means “For Isis” or “City of Isis,” and Paris is short for Paradise. Baton Rouge (Louisiana) is a French word that means Red Stick.

The New Orleans Saints logo is the fleur-de-lis (Florida*). It’s a French word that means lily flower in English. French Maurs (High Priest of Anu) known as the Merovingians introduced the fleur-de-lis as a symbol of France, which is sometimes spelled fleur-de-lys; and it is a stylized lily or iris commonly used for decoration. In fact, translated from French, fleur-de-lis means “lily flower.” Fleur means “flower,” while lis means “lily.” The interesting thing about the fleur-de-lis or Lily Flower is that it is derived from the Bee, and it is just an upside-down Bee: https://rb.gy/jpasca.

AGOULT (Fouquet or Foulques d’)

Or, to the ravishing wolf Azure, armed, langued and vilené Gules (1). 

Baron of Mison, of La Tour-d’Aigues, of Sault and of Forcalquier, lord of Thèze, Barret, Volone, La Bastide, Peypin, Niozelles, etc., chamberlain of René d’Anjou, viguier of Marseilles (1443, 1445 and 1472); son of Raymond and Louise de Glandevès-Faucon, his second wife; married: 1° with Jeanne de Beaurain; 2° with Jeanne de Bouliers; died without posterity at La Tour-d’Aiguës in 1492, nearly 100 years old.

Fouquet d’Agoult had been nicknamed by his contemporaries the Great and the Illustrious, in view of his love of justice, his magnificence and his liberality. Nostradamus (2) reports that “after the death of this so good and so excellent Roy (René d’Anjou) several and various eulogies, epitaphs and learned compositions were placed on his tomb, in the church of the Convent of the Carmelites of the City of Aix…The eulogies were in various languages, Hebrews, Greeks, Latins, French, Italians, Cathalans and Provencals, which the magnificent Fouquet d’Agoult, lord of Sault, had collected and transcribed exactly by the express command de la Reyne his second wife.

(1) All the genealogists and heraldists describe the d’Agoult coat of arms in the terms we have just used; however, the wolf is always represented crawling and not ravishing, that is to say holding its prey in the mouth. We didn’t want to change anything in the accepted description; but it was necessary to point out that it does not agree with the representation of the coat of arms. In 1220, the seal of Raymond II d’Agoult bore a passing wolf. (2) History and Chronicle of Provence, p. 646.

ANJOU (Charles I of)

Azure, semé of fleurs-de-lis Or, to the lion Argent set in quarter; bordered gules.

Count of Maine, Guise, Mortain, viscount of Châtellerault, lieutenant general for the king in Languedoc and Guyenne; third son of Louis II of Sicily and Yolande of Aragon; married: 1°, before 1434, with Cobelle Ruffo (2), widow of Jean-Antoine Marzano, Duke of Sessa, Prince of Rossano, daughter of Charles Ruffo, Count of Montalto and Corigliano, Grand Justice of the Kingdom of Naples, and of Cevareila de Saint-Séverin (see this name); 2°, by contract of January 9, 1443, with Isabelle de Luxembourg, daughter of Pierre de Luxembourg, count of Saint-Pol, and of Marguerite des Baux; born in the castle of Montils-les-Tours, October 14, 1414; died at Neuvy, in Touraine, on April 10, 1472, and buried in the church of Saint-Julien in Le Mans.

(2) Through this alliance, Cobelle Ruffo had become the sister-in-law of three kings, Louis III of Sicily, René of Anjou and Charles VII. Polyxène Ruffo, his sister, first married François-Alexandre Sforza (see this name).

ANJOU (Jean d’)

Per fess of one party, of two, which makes six quarters: 1 barage Argent and Gules, of eight pieces (HUNGARY); 2nd, Azure, strewn with fleurs-de-lis Or, a label Gules, five pendants in chief (ANJOU-SICILY); 3 Argent, to the cross of Jerusalem Or, at angle (JERUSALEM); 4th, azure, strewn with fleurs-de-lis or, a border gules (ancient ANJOU); 5th Azure, strewn with recrossed crosses set foot Or, two bars backed by the same debruising over all (BAR): 6th Or, a bend Gules charged with three alerions Argent ( LORRAINE); a label Gules three pendants in chief, debruising on the large quarters.

Duke of Calabria and Lorraine, senator of the Crescent (1470); eldest son of René d’Anjou and Isabelle de Lorraine; married, by treaty of April 2, 1437, with Marie de Bourbon, daughter of Charles I, Duke of Bourbon, and Agnès de Bourgogne; born in Toul on August 2, 1426, died in Barcelona on December 16, 1470, and buried in Angers, in the church of the Cordeliers (1).

(1) On a glass roof of this church, this prince was represented on his knees, his hands joined, a floral crown on his head, and wearing a loose coat with a turned down collar. In front of him was the coat of arms described above, supported by the emblem of the order of the Crescent with its motto. (MONTFAUCON, op. cit., t. II, pl. LXI11). These arms are absolutely identical to those which appear on a counter-seal of Jean d’Anjou, affixed to a document of 1465 (DOUET D’ARCQ, Collection de sceaux, t. I, n°789).

ANJOU (René d’)

Cut from one, from two, which makes six quarters; to 1 of HUNGARY; at 2 d’ANJOU-SICILY; at 3 of JERUSALEM; at 4 d’ANJOU old; at 5 of BAR; at 6 LORRAINE; over all Or, four pales Gules (ARAGON).

King of Naples, Sicily, Jerusalem and Aragon, Duke of Anjou, Lorraine and Bar, Count of Provence, Senator of the Crescent (1449); son of Louis II, Duke of Anjou, King of Naples, and Yolande of Aragon; married, in first marriage, by treaty of March 20, 1419, with Isabelle de Lorraine, eldest daughter and heiress of Charles II, Duke of Lorraine, and of Marguerite de Lorraine; in second marriage, September 10, 1454, with Jeanne de Laval, daughter of Guy XIV, Count of Laval, and Isabelle de Bretagne; born in Angers on January 16, 1409, died in Aix on July 10, 1480, and buried in the church of Saint-Maurice in Angers on October 26, 1481.

From the institution of the Armorial Knights of the Order of the Crescent, King René accompanied these coats of arms (1) (still existing in 1620, at Saint-Maurice d’Angers) with the insignia of the order (2), which he had painted and sculpted on a large number of monuments and works of art, to engrave on its seals (3) and to embroider (4) on its tapestries and ceremonial costumes.

(1) On the subject of the various coats of arms carried successively by René, see our work: La Croix de Jerusalem dans le Blason, p. 14. (2) Ung radiant and marvelous crescent, Garny of fine gold and white enamel, Of which there was in frank writing, Loz in crescent in engraved and understood, Such motto had this lord taken. Not without reason, for his loz would grow On all living beings who had loz and be. (OCTAVIE DE SAINT-GELAIS, Le Séjour de l’Honneur.) (3) Some of these seals have a double crescent on the reverse that Mr Douet d’Arcq (collection of seals, n°11783) took for two bags or stacked purses. (4) In 1448, Pierre du Villant, painter and embroiderer to the King of Sicily, two professions closely united in the Middle Ages, executed four embroidered crescents for his new order of chivalry (LECOY DE LA MARCHE, Extracts from accounts and memorials, n ° 632).

CHAMPAGNE (Peter I of)

Sable, fretty Argent; a chief or charged with a lion issanl gules (1). Currency (2): Sta closes.

Lord of Champagne, Pescheseul, Lonvoisin, Bailleul and Parcé, Prince of Montorio and Aquila, First Baron of Maine, Viceroy of Sicily and Anjou; third son of Jean III of Champagne and Ambroise de Crénon; married, according to contract of April 22, 1441, with Marie de Laval, sister of Guy de Laval (see this name), and daughter of Thibaut and Jeanne de Maillé-Brézé; died in Angers, almost a hundred years old, on October 15, 1486, and buried on the 22nd of the same month, in the church of Saint-Martin de Parce (3).

This valiant knight, who had distinguished himself in many battles, won two great victories against the English: the first in 1442, in the plain of Saint-Denis d’Anjou, and the second in 1448, before Beaumont-le-Vicomte. The following year, Jean d’Anjou gave him the order to help Charles VII against the English, and he covered himself with glory at the Battle of Formigny (1450).

(1) In the 17th century, this family sought to attach itself to the illustrious house of the Counts of Champagne and took its arms, which are: Azure with a silver band, bordered by two cotices potent and counter-potentiated Golden. (2) Motto and coat of arms still visible in 1620, in the chapel of the Knights of the Crescent in Saint-Maurice d’Angers. (3) The epitaph engraved on his tomb had been composed, it seems, by the king.

SFORZA (François-Alexandre)

Quarterly: 1st and 4th Or, to the eagle Sable crowned of the first (LOMBARDY); 2nd and 3rd, Argent, to the bisse Azure in pale, crowned Or, giving birth to a child Gules (VISCONTI-MILAN).

Duke of Milan (1454); natural son of Muzio Attendolo dit Sforza, lord of Cotignola, and Lucrezia Trezana or Tresciano; husband: 1° of Polyxène Ruffo, widow of Jacques Marilli (?) Grand Seneschal of the Kingdom of Naples, daughter of Charles Ruffo, Count of Montalto and Corigliano, and of Cevarella de Saint-Séverin; 2° (August 1, 1441) of Blanche-Marie Visconti, natural daughter of Philippe-Marie Visconti, Duke of Milan; born at San-Miniato (Tuscany), July 25, 1401, died at Milan, March 8, 1466.

As you can see, the Armorial Knights of the Order of the Crescent were very distinguished and extraordinary gentlemen and so was their King, Rene of Anjou since King Rene was a Saracen (Moslem) that was the King of Jerusalem, Sicily, Naples, and Aragon. In this post is an image of Moslem-Jerusalem, which looks very Moorish with the Crescent moons at the top of those Maurice domes. I love the Phoenician purple trim too at the top. This image is a full-page miniature of Jerusalem and the Dome of the Rock Image taken from feature 5 of Book of Hours, Use of Paris (‘The Hours of René d’Anjou’). Written in Latin, calendar, and rubrics in French: https://picryl.com/media/jerusalem-from-bl-eg-1070-f-5-4d2417.

The royal coats of arms of the Knights of the Order of the Crescent display powerful images of occult symbols like the kingfish (fisher king), the Falcon (Horus), and the Bee/ Beetle. The Fleur-de-lis symbol is an upside-down bee. We know that the study of the birds (falcons) and the bees/ beetles is real sex (love) through alchemy, and this advanced knowledge (magic) that was acquired from Thoth/ Thought was used to create an Eden style of government or Ethiopia = Utopia that was based on free energy and a resource-based economy: https://www.americaistheoldworld.com/teotihuacan-is-the-home-of-thoth/.

The fisher kings who were Fishers of men, aka, Magi’s, were the High Priest of Anu (Maurs) from Nineveh, which was Jacksonville, Florida, and surrounding areas. Nineveh means place of fish or House of fish and is the home of Prophet Jonah of the Bible: https://www.americaistheoldworld.com/nineveh-was-jacksonville-florida/.

Speaking of Jonah, a fish/ whale swallowed him for 3 days and then spit him out, which is code for him being born from a dragon, making Jonah a messiah, a Christ-king, and/or a Dragon-king: https://rb.gy/dsgf9g.

In this post is the coat of arms of royal knight, SFORZA (François-Alexandre), that depicts a Maur (High priest of Anu) being born from a blue dragon since serpents/ dragons don’t eat their prey feet-first. Also, notice the double headed Turkey of the Holy Roman Empire on the coat of arms. People think that this bird is an Eagle when it really is a Turkey, since Turkeys have beards and Eagles don’t. If you view different images of Hapsburg (Holy Roman empire) coat of arms you see that the bird on this coat of arms is clearly a double headed Turkey with a red beard. The Turkey is indigenous to the Americas and so is the Roman Empire. The Turkey is a hybrid bird that was spliced together with light codes (sound frequencies), aka, light alchemy, by Turkmen/ Moorman long ago using a combination of the Tukey Buzzard and the Chicken (the base metals) to create another meat source known as Turkey (the gold or good product).

I know this Roman History is confusing because Rome was a global empire that was on both sides of the world, however, the legit honorable Roman Empire that was in the Americas and under French Washitaw rule was overthrown by the duplicate Christian and Catholic Rome in Europe since the American version of the Romans were Saracens (Moslems) and pagans (Hebrews) that were labeled as infidels, in the eyes of the duplicate Roman hijack.

    The post Knights of the Order of the Crescent appeared first on America is the Old World.

source https://www.americaistheoldworld.com/knights-of-the-order-of-the-crescent/?utm_source=rss&utm_medium=rss&utm_campaign=knights-of-the-order-of-the-crescent

[pompadourpink]

Books for beginners

L'Etranger - Albert Camus, 1942

Aujourd'hui, maman est morte. Ou peut-être hier, je ne sais pas. J'ai reçu un télégramme de l'asile : « Mère décédée. Enterrement demain. Sentiments distingués. » Cela ne veut rien dire. C'était peut-être hier. L'asile de vieillards est à Marengo, à quatre-vingts kilomètres d'Alger. Je prendrai l'autobus à deux heures et j'arriverai dans l'après-midi. Ainsi, je pourrai veiller et je rentrerai demain soir.

*

Le Petit Prince - Antoine de Saint-Exupéry, 1943

Lorsque j'avais six ans j'ai vu, une fois, une magnifique image, dans un livre sur la Forêt Vierge qui s'appelait "Histoires Vécues". Ça représentait un serpent boa qui avalait un fauve. Voilà la copie du dessin. On disait dans le livre :"Les serpents boas avalent leur proie tout entière, sans la mâcher. Ensuite ils ne peuvent plus bouger et ils dorment pendant les six mois de leur digestion."

*

Candide - Voltaire, 1759

Il y avait en Westphalie, dans le château de M. le baron de Thunder-ten-tronckh, un jeune garçon à qui la nature avait donné les mœurs les plus douces. Sa physionomie annonçait son âme. Il avait le jugement assez droit, avec l'esprit le plus simple; c'est, je crois, pour cette raison qu'on le nommait Candide. Les anciens domestiques de la maison soupçonnaient qu'il était fils de la sœur de monsieur le baron et d'un bon et honnête gentilhomme du voisinage, que cette demoiselle ne voulut jamais épouser parce qu'il n'avait pu prouver que soixante et onze quartiers, et que le reste de son arbre généalogique avait été perdu par l'injure du temps.

*

Sept jours pour une éternité - Marc Lévy, 2007 (slushy)

Allongé sur son lit, Lucas regarda la petite diode de son beeper qui clignotait frénétiquement. Il referma son livre et le posa juste à côté de lui, ravi. C'était la troisième fois en quarante-huit heures qu'il relisait cette histoire et de mémoire d'enfer aucune lecture ne l'avait autant régalé. Il caressa la couverture du bout du doigt. Ce dénommé Hilton était en passe de devenir son auteur culte.

*

La Belle et la Bête - Jeanne de Beaumont, 1757 (tale)

Il y avait une fois un marchand qui était extrêmement riche ; il avait six enfants, trois garçons et trois filles, et, comme ce marchand était un homme d’esprit, il n’épargna rien pour l’éducation de ses enfants et leur donna toutes sortes de maîtres. Ses filles étaient très belles, mais la cadette surtout se faisait admirer, et on ne l’appelait, quand elle était petite, que la Belle Enfant, en sorte que le nom lui en resta, ce qui donna beaucoup de jalousie à ses sœurs.

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Barbe-bleue - Charles Perrault, 1697 (tale)

Il était une fois un homme qui avait de belles maisons à la ville et à la campagne, de la vaisselle d’or et d’argent, des meubles en broderie, des carrosses tout dorés. Mais, par malheur, cet homme avait la barbe bleue : cela le rendait si laid et si terrible, qu’il n’était ni femme ni fille qui ne s’enfuît de devant lui. Une de ses voisines, dame de qualité, avait deux filles parfaitement belles. Il lui en demanda une en mariage, en lui laissant le choix de celle qu’elle voudrait lui donner.

*

La Cantatrice chauve - Eugène Ionesco, 1950 (absurd)

SCÈNE I

Intérieur bourgeois anglais, avec des fauteuils anglais. Soirée anglaise. M. SMITH, Anglais, dans son fauteuil et ses pantoufles anglais, fume sa pipe anglaise et lit un journal anglais, près d’un feu anglais. Il a des lunettes anglaises, une petite moustache grise, anglaise. À côté de lui, dans un autre fauteuil anglais, Mme SMITH, Anglaise, raccommode des chaussettes anglaises. Un long moment de silence anglais. La pendule anglaise frappe dix-sept coups anglais.

Mme. SMITH

Tiens, il est neuf heures. Nous avons mangé de la soupe, du poisson, des pommes de terre au lard, de la salade anglaise. Les enfants ont bu de l’eau anglaise. Nous avons bien mangé, ce soir. C’est parce que nous habitons dans les environs de Londres et que notre nom est SMITH.

[nemo-in-wonderland]

(..............)

“Twins?” “Twins. A boy and girl.” Ximena answered, before turning her loving eyes to the two small bundles she kept against her breast. A smile touched her full lips, the pride undeniably written on her face at the sight of the two sleeping children. Dark of hair and sun-kissed skin, with rosebud lips and puffy cheeks that appeared to be made just to be covered in gentle loving kisses: two small cherubs sent to her from the heavens above to quell the sadness of her soul. The woman felt her heart swelling in her chest with such intensity, for a moment she was sure she couldn’t breath. They were both perfect. The girl briefly opened her eyes as a hiccup left her small mouth, a hiccup that was soon bound to become a shriek of necessity. “Mark my word, Ximena, that nena has the dark side of the moon within her,” the matriarch said while taking the baby girl in her experienced arms, starting to pacing and patting on her back to lull her back to sleep. But even when the old woman started to crone a melody of an ancient time, the baby girl would not stop her whimper of protest. “This one, instead, is a hijo de la luna llena,” the young mother cooed at the still asleep baby boy. With delicate finger, she caressed the bridge of the baby’s nose and his head of dark leonine hair. “Peaceful as a quiet night of plenilune indeed,” she murmured, her smile widening even more. “You are lucky that their father’s mark is nowhere to be found on their small faces, and instead they favour you.This will make things easier for them...and for all of us.” (….)

A small WIP for you all tonight, before going to sleep.

This is actually a VERY old artwork, that I started in *checks info on CPS* March last year, but I never truly got the occasion to finish (or rather, I was HYPER frustrated with my lack of skill to render justice to the artwork and my beloved brainchildren).

I remember seeing a statue of Latona with Apollo and Artemis and IMMEDIATELY striked me as the perfect inspiration and reference for my brainchildren.

And, while unfinished, it still gives me so many emotions so, I decided to share it with you as well <3

So here you have Ximena with her two most precious jewels: Mathias and Antoine 🥹💓🥹💓🥹💓

I honestly want to work some more on my Unity stuff, because I have so many things to develop still, and the way I love the De Beaumont is IMMENSE.

IMMENSE.

(also, omg I was all squealing while drawing baby Mathias and Baby Antoine!! like KYAAAAAAH. SWEET BEBES. SWEET PERFECT BEBES.)

(also fml I need to recalibrate my screen because the colours are all fucked up :/)

Well, I hope you will like this! <3

--Nemo

[nemo-of-house-hamartia]

Cricket darling!

The ask, this one goes for your ACU bébés Dorothea, Antoine and Colette. 😊

a ‘steal their look’ outfit/outfit inspired by them

Bring it!!! 😁

MY DARLING SISTER FROM ANOTHER MISTER.

WHAT JOY TO SEE YOU IN MY INBOX AGAIN <3 (honestly, I missed you so much <3 it always makes me smile to see your asks here <3)

NOW, ONTO THE ASK ITSELF. (I have to be honest, when I saw it, I didn't read it properly, and didn't realize that you were asking only for the "Steal their look", so I also did their moodboards, I hope you don't mind <3).

without further ado, let me answer this ask! <3

✨ DOROTHEA MARIANNE STARRICK✨

MOODBOARD

STEAL HER LOOK

☀️COLETTE HÉLÈNE DE BEAUMONT☀️

MOODBOARD

STEAL HER LOOK

🌒ANTOINE FRANÇOISE DE BEAUMONT🌒

STEAL HER LOOK

[whatdoesshedotothem]

Sat[urday] 23 August 1834

8 3/4

12 1/4

Good kiss last night – up at 6 1/2 a.m. w[i]th reg[ula]r bow[e]l compl[ain]t – Perrelet a lit[tle] bef[ore] 9

his fath[e]r g[o]t the legion of honore – one of the 28 decorat[io]ns giv[e]n (out of ab[ov]w 2090 peop[le]) for wh[a]t they h[a]d at the exposit[io]n

Miss Becketts’ broth[e]r h[a]d tak[e]n b[a]ck h[e]r watch – b[ou]ght a ver[y] nice lit[tle] enamell[e]d

watch 360/. for A- [Adney]   Perrelet s[ai]d bow[e]l compl[ain]t was ver[y] com[mon] – the medic[a]l men

desir[e]d peop[le] to eat ver[y] lit[tle] fruit – call[e]d the compl[ain]t cholerine – A- [Adney] pleas[e]d w[i]th

the watch b[u]t th[ou]ght it mon[e]y thrown away, so to our mut[ua]l satisfact[io]n determ[ine]d to gi[ve] it

to Charlotte S- [Stuart] and to ask Miss Berry to ta[ke] it ho[me] – th[a]t Perrelet might ha[ve] it regler it

perfect[l]y well – br[eak]f[a]st at 10 40/.. – A- [Adney] and I out (in the landau) at 12 – Look[e]d ov[e]r the

furniture sale r[oo]ms of Lesage r[ue] Grange Batèlière – th[e]n w[e]nt chez Fischer (whose

well-made furnit[u]re we h[a]d seen at the Exposit[io]n – and who got the silv[e]r medal, the highest

reward giv[e]n for Ébénisterie, - and recom[mende]d by Perrelet – m[u]ch diffic[ult]y in find[in]g the place)

 147

1834

Aug[u]st

+

ord[ere]d

ord[ere]d

+

Impasse Guèmené n°3, r[ue] S[ain]t Antoine – lik[e]d a cartonnier at 140/.- b[u]t c[oul]d n[o]t

ta[ke] it ho[me] – all the Fr[en]ch marchander, so his etiquettes mark[e]d so as to allow h[i]m to abate

a lit[tle] – he ment[ione]d th[i]s ver[y] honest[l]y – lik[e]d the man – will employ h[i]m when I want

furnit[u]re – he h[a]s m[u]ch now chez Lessage – pays high for stand[in]g and th[e]re, on the th[in]g being sold –

out of 430/. E.G. allows 50/. – took us int[o] his workshop upst[ai]rs – mak[in]g fauteuils

at 12000/. each for Rothschield rich in carr[ia]ge and gild[in]g – doing up for him a ver[y] handso[me] old oak-carv[e]d

armoire, cost 600fr. at a curios[it]y shop – c[oul]d rememb[e]r when s[in]ce might ha[ve] been b[ou]ght for

20/. b[u]t now sought aft[e]r and d[ea]r – the curios[it]y merch[an]ts g[o]t th[e]m fr[om] La Vendée – pass[e]d ov[e]r

the pont de jard[i]n de Roi and left A- [Adney] and Geo[rge] at n°27 r[ue] S[ain]t V- [Victoire] at 3 1/4 (to dust b[oo]ks) – th[e]n w[e]nt

chez Crochard to ord[e]r so[me] books – the annals du musée de jard[i]n des pl[an]ts, rare – sold at

700 to 800fr. – M. Elie de Beaumont’s mém[oi]re sur les révolut[io]ns de la surf[a]ce du globe

pub[lishe]d separ[atel]y, is Epuisé, b[u]t I ha[ve] it in the annals des sci[en]ces nat[ur]ells end of 1829 and

begin[nin]g of 1830. L’arte de verifier les dates, 27 vol[ume]s [octavo] at 5/. or 6/. – out of print –

m[u]st ha[ve] it d’occasion – ord[ere]d for my ret[ur]n  to have Maltebruns’ geog[raph]y immed[iatel]y 7 vol[ume]s out

5 to co[me] – vol[ume]s 3 and 4 Capefigues’ hist[oire] Phil[ip] Auguste ord[ere]d – Chateaubriand’s works

ab[ou]t 25 vol[ume]s at 5/. or 6/. –

Cours d’agriculture, 16 vol[ume]s [octavo] to be h[a]d for 56/. bec[ause] go[in]g to be repub[lishe]d cheap, in 2 col[umn]s on each page –

Glossaire de Ducange, to be g[o]t d’occas[io]n – when opport[unit]y offers – ord[ere]d for my ret[ur]n –

Collect[io]n des memoires 1st and 2[n]d series 150 vol[ume]s à 5/. go[in]g to be reprint[e]d cheap, in 2 columns.

Guizot’s revolut[io]n d’Angleterre 25 vol[ume]s [octavo]

Manuel du libraire – diffic[ul]t à se procurer – h[a]s n[o]t ev[e]n a cop[y] for hims[elf] – m[u]st bring 1 fr[om] Brussells

will get one for me if he can – ord[ere]d

Tableaux synchroniques par Michelet.

Précis de l’hist[oire] du moyen age, par M. des Michells 2 vol[ume]s         ord[ere]d

Manuel de Diplomacie

Off fr[om] Crochards’ at 3 55/.. for Bellevue n°7 to call up[on] L[ad]y Charlotte Lindsay and the Miss

Berrys – th[e]re at 5 – ver[y] civ[i]l and k[i]nd – ask[e]d me to din[ner] – st[ai]d – ver[y] agreeab[le] vis[i]t – Miss B- [Berry]

will ta[ke] charge of the watch to be left for me w[i]th eith[e]r L[ad]y S[tuar]t Whitehall, or L[ad]y S- [Stuart] de R- [Rothesay]

Miss Agnes B- [Berry] recom[mende]d the correspond[en]ce of Victor Jacqumenot to his fam[il]y fr[om] Les Indes orient[au]x

in 1839 to 1832 – s[e]nt out by the jard[i]n des plantes – now dead – 2 vol[ume]s [octavo] – ho[me] in an h[ou]r

at 8 1/2 – A- [Adney] on[l]y just ret[urne]d – din[ner] at 9 – fine day till ab[ou]t one p.m. – aft[er]w[ar]ds gentle r[ai]n

the gr[ea]t[e]r part of the aft[ernoo]n and ev[enin]g –F[ahrenheit] 66° at 12 5/.. tonight – Miss Berry h[a]d n[o]t got the addr[ess] for

the bellows, c[oul]d n[o]t get it, so h[a]d no bellows for me – b[u]t w[oul]d bring me a p[ai]r to Eng[lan]d w[i]th h[e]r

if I lik[e]d –

[st-just]

So thanks to @dagny-hashtaggart​‘s recommendation and the fact that it’s 40% off, I’ve been giving Banner of the Maid a try. Enjoying it so far, like a cross between Le Chevalier D’eon and Battle for Wesnoth (though only done the prelude so far).

Glad I was warned about the translation ahead of time, though.

That said - so didn’t realize the protagonist was actually one of Napoleon’s real sisters. And generally I either love or hate stories that take historical periods as literally nothing but set dressing and names to steal, and this is tending towards love at the moment. (Recognizing people is fun trivia, anyway).

Does amuse me that Pauline’s future husband (noted war criminal and slavery-re-enacter Leclerc, of the infamously eponymous expedition) is the most stereotypically bishie anime boy I can imagine, though.

Not quite as much as this being, as best as I can tell, the moeified Marc Antoine de Beaumont, though (picture form wikipedia for comparison)

[lumiereandcogsworth]

Tell me something about any or all of the kiddos you'd LOVE to go off about!!!

Thank you for this!!!! Honestly something that I super want to go off about is their names. I’m just REALLY proud of their names like it’s such a simple thing but?? It gets me so excited and that’s what this post is about am I right ladies!!! Anyway, without further ado: Names.

So to explain the names of these three beautiful kiddos, I first have to explain the full names I’ve given to their parents — my dear Adam and Belle.

Adam Jean-Louis Antoine Adrien de Beaumont

It’s a mouthful I KNOW! These names are all just members of his family. I believe I made Antoine his grandfather, and Jean is a great-grandfather I think. Adrien is an uncle. Louis is his horrible, awful father. I think Adam would have been named after him directly if not for the fact that I have a whole backstory headcanon about how Adam’s mother was NOT King Louis’ first wife. How his first wife, Queen Agnès, gave him a daughter that would later die as a child, and a son that was stillborn (followed by Agnès dying from childbirth). So when the new, young Queen Renée FINALLY gave him a living son, a proper heir to the throne, he let her name him. Hence his simpler, Christian name: Adam.

And “de Beaumont” is an homage to one of the 18th century Beauty and the Beast authors, Jeanne-Marie Leprince de Beaumont - from 1756. I’ve also seen Adam’s last name be Beaumont in Modern AU fic before, and I’ve fully adopted it as his family name. It’s just so fitting!! So in this canon world, his family line is the house of Beaumont - instead of Bourbon or Napoleon, as history actually dictates around this time.

Belle Annalise de Beaumont (née LaRue)

Much less of a mouthful! So my story on her name is that when her darling parents - Maurice James LaRue and Maria Catherine LaRue (née Bouchet) - were expecting her, they were both quite certain it was a girl. I don’t know how, but they just KNEW. And pretty early on, they settled on the name Annalise. They just both thought it was so lovely, so sweet. They simply adored the name. But on that calm evening on the second of May, when the crying little baby girl was placed in Maria’s arms, all she could say was Belle! Belle! For she had never seen anything more beautiful. Even when her dear husband came in, all tearful and smiling, all she could call their little angel was Belle. Eventually, Maurice suggested that that should be her name, and Annalise became her middle name.

Also the family name LaRue simply means “of the street or of the road” - I wanted Maurice to have a rather plain family name, and it’s symbolic of the fact that Maurice was a street artist, and lived on the street for a good portion of his life.

Now, onto the kiddos!!

Renée Geneviève Annalise de Beaumont

Their dear firstborn, the beloved first princess and heir to the throne! So! Renée’s first name comes from Adam’s mother. I think that, even though Adam spent a good portion of his life not really wanting children, or expecting himself to care, there was some part of him that knew if he ever did have a daughter, he’d name her after his dearly departed mother. And Belle was more than happy to agree upon this name! She thought it was quite beautiful too, and she of course knows how much Adam’s mother meant to him.

Geneviève was the name of Adam’s aunt and godmother - Louis’ younger sister. I headcanon that while she wasn’t around very much (she married a prince of another country when Adam was a child) she was always very kind to her little nephew and godson, and her sister-in-law, when she did visit. Despite King Louis’ anger, Geneviève was sensible and kind. One of Queen Renée’s only ports in the storm of her life, really. Aunt Geneviève unfortunately also died in Adam’s youth, I think around when he was 16, as his past is of course riddled with death. But all that to say, he remembers her fondly, and so gave her name to his daughter.

And Annalise is, of course, after Belle. Adam really wanted to make one of her names “Belle,” but his wife was less enthused with the idea. She loves her name well enough but she wanted her daughter to be her own person, aside from her king and queen parents, whom she would already be compared to for the rest of her life. So they compromised with Annalise. (And, by all accounts, Adam LOVES Belle’s middle name. I think he affectionately calls her Belle Annalise sometimes.)

Juliette Adrienne Maria de Beaumont

Their second daughter! Dear angel!! One can see pretty clearly where Juliette’s name came from. But I like to headcanon that Belle loved that name even before she read Romeo & Juliet. I think it’s even sweeter to think that it was just a name she heard one day as a child and got attached to. We all had names like that! Whether they were for future children or pets or characters or imaginary friends, sometimes you just find names you like. And Juliette was that for Belle. So when she actually DID read Romeo & Juliet, it made her SO happy to see a beloved name as one of the main characters!! And she ended up falling in love with the play, of course, which made it all so perfect.

(Adam wasn’t entirely keen on the name at first, but between the facts that he got to choose their first daughter’s name, and that Belle has ALLEGEDLY loved the name since childhood, he grew fond of it. And he loves it more and more every day, associating it with his darling girl more than anything else <3)

Adrienne is the feminine version of one of Adam’s middle names - Adrien. Adam never actually knew the Adrien he was named after, as he was his father’s younger brother that died in their youth. But Belle likes the name on its own and wanted to include her husband in their child’s name, and Adam agreed it sounded quite nice with Juliette.

Maria is Belle’s mother!!! Not only did they both LOVE the way Juliette Adrienne Maria sounded, but they both knew they had to honor Belle’s mother somehow. Belle didn’t need her daughter to be named after her, as Renée is, but she certainly wanted her to be a part of her daughter’s name. When they told Maurice, he of course was touched, and so very happy to see his darling wife living on through his sweet little granddaughter.

Maurice Jean Adam de Beaumont

Their son!!! The darling prince!!!! Maurice is, quite obviously, named after his grandfather. And don’t worry, he absolutely cried when he learned this little guy was named after him. I could scream about this forever but oh my gosh!! Look, you can name your OC’s whatever you want. I’ve seen some GREAT names of Adam/Belle sons in other fics. But for me personally, you just cannot ever convince me that Adam and Belle WOULDN’T name their firstborn son Maurice. It is rather obvious how much that man means to Belle; he raised her all on his own!! He’s such an incredible father and he taught her EVERYTHING!!! He gave her as much as he could in the circumstances of their unexpected small town life. He’s just everything to her. To literally quote Belle: Everything she is is because of him.

BUT TO ADAM??? GUYS!!! Adam lost his mother when he was nine and a half years old. That’s just my headcanon age of course but he was a KID. We KNOW that. He was an only child left with an abusive father.

To quote Mrs. Potts: “When the Master lost his mother, and his cruel father took that sweet, innocent lad, and twisted him out to be just like him, we did nothing.”

Adam was left defenseless with his horrible father and I fully believe he was abused by him. My point is: Maurice was like the light at the end of a tunnel to Adam. I mean Belle is too, in a million ways, but to Adam as an individual, as a man, Maurice is so important to him. Maurice shows him a father’s kindness, a father’s forgiveness, a father’s LOVE. He teaches him that you don’t have to be brutish and aggressive in order to be considered a man. You can be gentle and kind and respectful toward others. Maurice taught Adam what it truly meant to be a good man, and to be a good father. Maurice just sits in such high esteem in Adam’s heart, and I don’t doubt for a second that he was his first name choice when their son was born.

Also, I headcanon that they call him Reece/Reecy quite regularly. Partly to differentiate from his grandfather, but also because when he was born and his sister Juliette, who was five years old at the time, was told that his name was Maurice, she responded, “I like Reece!” sort of unknowingly cutting his name in half and giving him a life-long nickname all in one affectionate sentence. He still gets called Maurice, especially by Adam, but to his family and friends, he’s mostly Reece.

Jean comes off as a filler name, just because it’s so simple and common, but it has some meaning to it, as well. It’s Adam’s first middle name too, so there’s a parallel to that. The actual Jean from Adam’s life was his great-grandfather, who, while on the throne, did go by Louis. But his family called him Jean, and though Adam also didn’t know him personally, records and archived documents told him that he was actually a rather good king, respected by his subjects and peers. So Adam was happy to pass along his first middle name to his son. And it turned out that that was one of Maurice’s grandfather’s names too, So Belle and Adam actually both had great-grandfathers named Jean. AND it was the middle name of one of Maurice’s younger brothers, Félix Jean. A tried and true family name to be sure.

Finally, Adam! While our Adam was quite certain that their son should be named after his grandfather, I think Belle definitely fought for him to be named Adam, if only for a few weeks during the pregnancy (they didn’t know they would have a son of course, this argument came up during every pregnancy.) Adam, like Belle, didn’t love the idea of giving their child his own name. In addition to Belle’s point of letting him be his own person, Adam was never really too fond of his name. He learns to live with it, and hearing Belle say it with such affection over the years certainly made it more bearable, but it still wasn’t enough for Adam to be willing to pass it on to his son - at least in a first name capacity. He wants his son to have his own legacy, not just be another Adam, attached to every sorry detail of his predecessor.

Despite all that, and all its validity, Belle loves her husband. And she loves her son. So she pleads one final time, after baby Reecy is days old, still with an incomplete full name, if Adam can be included. Adam contemplates it for a while. Not too long, but enough time to accept his growth as a person, as a man, as a husband and father. To accept that his name means more good than bad now, and to accept that he will be a good father to his son, just as he has been to his daughters. His son won’t have to prove himself in any way to his father, he will simply be who he is, and he will be loved for it. So after all this, Adam decides that his name can belong to his son, too. And so it was.

[elcinelateleymickyandonie]

Denise Grey.

Filmografía

Cine

1913 : Mademoiselle Etchiko

1914 : En famille, de Georges Monca

1914 : Madame Rigadin, modiste, de Georges Monca

1914 : Mademoiselle Etchiko, de André Hugon

1914 : Le Voyage de Corbillon, de Georges Monca

1916 : Document secret, de René Navarre

1916 : Nemrod et Cie, de Maurice Mariaud

1916 : Rigadin professeur de danse, de Georges Monca

1917 : Les Bleus de l'amour, de Henri Desfontaines

1917 : Honneur d'artiste, de Jean Kemm

1935 : Jeunes Filles à marier, de Jean Vallée

1936 : La Dame de Vittel, de Roger Goupillières

1937 : Trois artilleurs au pensionnat, de René Pujol

1938 : Trois artilleurs à l'opéra, de André Chotin

1938 : Serge Panine, de Paul Schiller y Charles Méré

1940 : Monsieur Hector, de Maurice Cammage

1941 : Boléro, de Jean Boyer

1941 : Montmartre-sur-Seine, de Georges Lacombe

1942 : Romance à trois, de Roger Richebé

1942 : Le Voile bleu, de Jean Stelli

1942 : Des jeunes filles dans la nuit, de René Le Hénaff

1942 : Retour de flamme, de Henri Fescourt

1942 : L'Honorable Catherine, de Marcel L'Herbier

1943 : Adieu Léonard, de Pierre Prévert

1943 : Vingt-cinq ans de bonheur, de René Jayet

1943 : L'aventure est au coin de la rue, de Jacques Daniel-Norman

1944 : Les Caves du Majestic, de Richard Pottier

1945 : On demande un ménage, de Maurice Cam

1945 : Madame et son flirt de Jean de Marguenat

1945 : L'Insaisissable Frédéric, de Richard Pottier

1945 : L'Extravagante Mission, de Henri Calef

1946 : Étrange Destin, de Louis Cuny

1946 : Le Couple idéal, de Bernard Roland y Raymond Rouleau

1946 : Six heures à perdre, de Alex Joffé y Jean Lévitte

1946 : Coïncidences, de Serge Debecque

1946 : Le Diable au corps, de Claude Autant-Lara

1947 : Et dix de der, de Robert Hennion

1947 : Carré de valets, de André Berthomieu

1948 : Une femme par jour, de Jean Boyer

1948 : Bonheur en location, de Jean Wall

1949 : La Ronde des heures, de Alexandre Ryder

1949 : Tête blonde, de Maurice Cam

1949 : Mon ami Sainfoin, de Marc-Gilbert Sauvajon

1949 : Pas de week-end pour notre amour, de Pierre Montazel

1950 : Rome-Express, de Christian Stengel

1950 : Les Petites Cardinal, de Gilles Grangier

1950 : Demain nous divorçons, de Louis Cuny

1952 : Allô... je t'aime.

1952 : La Tournée des grands ducs, de André Pellenc

1953 : Art. 519 Codice Penale, de Leonardo Cortese

1953 : Il Seduttore, de Franco Rossi

1953 : Raspoutine, de Georges Combret

1953 : Dortoir des grandes, de Henri Decoin

1953 : Les Corsaires du bois de Boulogne, de Norbert Carbonnaux

1953 : Julietta, de Marc Allégret

1953 : Le Père de Mademoiselle, de Marcel L'Herbier

1954 : Escalier de service, de Carlo Rim, sketch Les Béchard

1954 : Le Printemps, l'automne et l'amour, de Gilles Grangier

1954 : Fantaisie d'un jour, de Pierre Cardinal

1954 : Le Mouton à cinq pattes, de Henri Verneuil

1954 : Poisson d'avril, de Gilles Grangier

1955 : La Villa Sans-Souci, de Maurice Labro

1955 : La Rue des bouches peintes, de Robert Vernay

1956 : Sylviane de mes nuits, de Marcel Blistène

1956 : L'Auberge fleurie, de Pierre Chevalier

1956 : Une nuit aux Baléares, de Paul Mesnier

1956 : Mitsou, de Jacqueline Audry

1957 : À pied, à cheval et en voiture, de Maurice Delbez

1957 : Carve Her Name with Pride, de Lewis Gilbert

1957 : La Peau de l'ours, de Claude Boissol

1957 : Le Tombeur, de René Delacroix

1957 : Police judiciaire, de Maurice de Canonge

1957 : Mimi Pinson, de Robert Darène

1957 : C'est la faute d'Adam, de Jacqueline Audry

1958 : À pied, à cheval et en spoutnik, de Jean Dréville

1959 : Bomben im Monte-Carlo, de Georg Jacoby

1959 : Le Confident de ces dames, de Jean Boyer

1960 : Le Panier à crabes, de Joseph Lisbona

1960 : La Française et l'Amour, de Christian-Jaque, sketch Le Divorce

1963 : La Bonne Soupe, de Robert Thomas

1965 : Pas de caviar pour tante Olga, de Jean Becker

1969 : La Maison de campagne, de Jean Girault

1970 : Hello-Goodbye, de Jean Negulesco

1970 : Los Aristogatos, de The Walt Disney Company

1971 : Mais qui donc m'a fait ce bébé ?, de Michel Gérard

1980 : La Boum, de Claude Pinoteau

1982 : La Boum 2, de Claude Pinoteau

1982 : N'oublie pas ton père au vestiaire..., de Richard Balducci

1982 : En cas de guerre mondiale, je file à l'étranger, de Jacques Ardouin

1983 : Le Voleur de feuilles, de Pierre Trabaud

1985 : Le Gaffeur, de Serge Pénard

1988 : Les Saisons du plaisir, de Jean-Pierre Mocky

1991 : Tchin tchin, de Gene Saks.

Televisión

1960 : Rouge, de André Leroux

1962 : Chéri

1967 : Le Chevalier Tempête, de Yannick Andréi

1969 : Tout pour le mieux

1971 : Une autre vie

1972 : Les Rois maudits, de Marcel Jullian y Claude Barma

1977 y 1982 : Cinéma 16

1978 : Un ours pas comme les autres

1979 : Les Moyens du bord

1979 : Les Dames de la côte, de Nina Companeez

1980 : L'Esprit de famille

1983 : Merci Sylvestre

1985 : Les temps difficiles.

Teatro

1916 : Six Hommes, une femme et un singe, de Pierre Veber y Yves Mirande, Théâtre Michel

1921 : Comédienne, de Jacques Bousquet y Paul Armont, Théâtre des Nouveautés

1922 : La Femme de mon ami, Théâtre de l'Athénée

1922 : Atout... Cœur !, de Félix Gandéra, Théâtre de l'Athénée

1924 : Si je voulais..., de Paul Géraldy y Robert Spitzer, Théâtre du Gymnase Marie-Bell

1926 : Passionnément, de Maurice Hennequin y Albert Willemetz, Théâtre de la Michodière

1936 : Europe, de Maurice Rostand, Théâtre Pigalle

1938 : Le Valet maître, de Paul Armont y Léopold Marchand, escenografía de Pierre Fresnay, Théâtre de la Michodière

1948 : Les Enfants d'Edouard, de Frederic Jackson y Roland Bottomley, adaptación de Marc-Gilbert Sauvajon, escenografía de Jean Wall, Théâtre Édouard VII

1949 : Les Enfants d'Edouard, de Frederic Jackson y Roland Bottomley, adaptación de Marc-Gilbert Sauvajon, escenografía de Jean Wall, Théâtre des Célestins

1950 : George et Margaret, de Marc-Gilbert Sauvajon y Jean Wall, escenografía de Jean Wall, Théâtre Daunou

1950 : Il faut marier maman, de Marc-Cab y Serge Veber, escenografía de Pierre Dux, Théâtre de Paris

1953 : Faites-moi confiance, de Michel Duran, escenografía de Jean Meyer, Théâtre du Gymnase Marie-Bell

1955 : Les Enfants d'Edouard, de Frederic Jackson y Roland Bottomley, adaptación de Marc-Gilbert Sauvajon, escenografía de Jean Wall, Théâtre des Célestins

1956 : La Femme du siècle, de Claude Schnerb, escenografía de Jacques-Henri Duval, Théâtre des Célestins, giras Georges Herbert

1959 : Bon Week-End Mr. Bennett, de Paule de Beaumont a partir de Arthur Watkyn, escenografía de Michel Vitold, Théâtre de la Gaîté-Montparnasse

1961 : Ocho mujeres, de Robert Thomas escenografía de Jean Le Poulai.

1962 : Ocho mujeres, de Robert Thomas, escenografía de Jean Le Poulain, Théâtre des Bouffes-Parisiens

1963 : Vénus de Milo, de Jacques Deval, escenografía de Pierre Mondy, Théâtre des Célestins

1965 : Assassins associés, de Robert Thomas, escenografía de Jean Piat, Théâtre Antoine y Théâtre du Palais-Royal

1966 : J'y suis, j'y reste, de Jean Valmy y Raymond Vincy, escenografía de Jean Valmy, Théâtre Marigny

1966 : La Fin du monde, de Sacha Guitry, escenografía de Jean-Pierre Delage, Théâtre de la Madeleine

1967 : Quarante Carats, de Pierre Barillet y Jean-Pierre Gredy, escenografía de Jacques Charon, Théâtre de la Madeleine

1971 : Le Train de l'aube, de Tennessee Williams, escenografía de Jean-Pierre Laruy, Théâtre Édouard VII

1972 : En avant... toute !, de Michel André, escenografía de Michel Roux, Théâtre Édouard VII

1972 : La Bonne Adresse, de Marc Camoletti, escenografía de Christian-Gérard, Théâtre Michel

1973 : La Royale Performance, de Marcel Mithois, escenografía de Jean-Pierre Delage, Théâtre des Bouffes-Parisiens

1974 : Le Tube, de Françoise Dorin, escenografía de François Périer, Théâtre Antoine

1976 : Le Jardin de craie, de Enid Bagnold, escenografía de Raymond Gérôme, Théâtre Hébertot

1977 : Bichon, de Jean de Létraz, escenografía de Jacques Valois, Théâtre de Charleville-Mézières

1978 : Crime à la clef, de Alain Bernier y Roger Maridat, escenografía de Jean-Paul Cisife, Théâtre Tristan-Bernard

1981 : La vie est trop courte, de André Roussin, escenografía de Michel Fagadau, Théâtre Daunou

1983 : La vie est trop courte, de André Roussin, escenografía de Michel Fagadau, Théâtre de la Gaîté-Montparnasse

1984-1985 : Les Temps difficiles, de Édouard Bourdet, escenografía de Pierre Dux, Théâtre des Variétés

1985 : Harold et Maude, de Colin Higgins, escenografía de Jean-Luc Tardieu, Espace 44 Nantes

1987 : Harold et Maude, de Colin Higgins, escenografía de Jean-Luc Tardieu, Théâtre Antoine

1989 : Arsénico y encaje antiguo, de Joseph Kesselring, escenografía de Jean-Luc Tardieu, gira

1991 : La sopera, de Robert Lamoureux, escenografía de François Joffo.

Operetas

1919 : Nelly, de Marcel Lattès, con Félix Oudart (Théâtre de la Gaîté)​

1950 : Il faut marier maman, de Guy Lafarge, Théâtre de Paris, con Roland Armontel.

Créditos: Tomado de Wikipedia

https://es.wikipedia.org/wiki/Denise_Grey

#HONDURASQUEDATEENCASA

#ELCINELATELEYMICKYANDONIE

[amphibious-thing]

The transaction between the Chevalière d’Eon and Pierre Beaumarchais acting on behalf of the King of France:

We, the undersigned, Pierre-Augustin Caron de Beaumarchais, specially entrusted with the private instructions of the King of France, dated Versailles, August 25, 1775, communicated to the Chevalier d'Eon in London, of which a copy certified by me shall be appended to the present act, on the one part;

And Demoiselle Charles-Geneviève-Louise-Auguste-André-Timothée d'Eon de Beaumont, spinster of age, hitherto known by the name of the Chevalier d'Eon, squire, formerly captain of dragoons, knight of the royal and military order of Saint Louis, aide-de-camp to Marshal the Duc and to the Comte de Broglie, minister plenipotentiary of France at the Court of Great Britain, late doctor of civil law and of canon law, advocate in the Parliament of Paris, Censor Royal for History and Belles Lettres; sent to Russia with the Chevalier Douglas, for the purpose of effecting the reconciliation of the two courts, secretary of embassy to the Marquis de L'Hospital, ambassador plenipotentiary of France at the court of her Imperial Majesty of all the Russias, and secretary of Embassy to the Duc de Nivernais, ambassador extraordinary and plenipotentiary from France to England for the conclusion of the late peace, are agreed upon what follows, and have hereunto subscribed our names:

Art. I. That I, Caron de Beaumarchais, do require, in the name of the King, that all official and private papers having reference to the several political negotiations with which the Chevalier d'Eon has been entrusted in England, notably those concerning the peace of 1763, correspondence, minutes, copies of letters, cyphers, etc., at present deposited with Earl Ferrers, Peer of the Realm, and Admiral, of Upper Seymour Street, Portman Square, London, ever a particular friend of the said Chevalier d'Eon in the course of his misfortunes and law-suits in England, that the said papers, enclosed in a large iron safe of which I have the key, be delivered to me after having been initialled by me and by the said Chevalier d'Eon, and of which the inventory shall be added and appended to the present act, as a proof that the said papers have been faithfully delivered. 

Art. II. That all papers of the secret correspondence between the Chevalier d'Eon, the late King, and the several persons entrusted by his Majesty to entertain that correspondence, designated in the letters by the names deputy, solicitor, in the same way in which his Majesty himself was styled the counsellor, etc. . . . which secret correspondence was concealed beneath the flooring of the bed-chamber of the said Chevalier d'Eon, whence it was withdrawn by him, on October 5 of the present year, in my presence alone, being carefully sealed and addressed: To the King only, at Versailles; that all the copies of the said letters, minutes, cyphers, etc., shall be delivered to me, likewise attested with initials, and with an exact inventory, the said secret correspondence consisting of five portfolios or thick volumes in quarto.

Art. III. That the said Chevalier d'Eon is to desist from every kind of proceeding, judicial or personal, against the memory of the late Comte de Guerchy, his adversary, the successors to his title, the members of bis family, etc., and undertakes never to revive any such proceedings under whatsoever form, unless he be forced thereto by judicial or personal provocation on the part of some relative, friend, or adherent of that family; for which there can no longer be any apprehension, his Majesty having, in his wisdom, taken every necessary precaution to prevent the recurrence, in the future, of any such unseemly quarrels, whether on the one side or on the other.

Art. IV. And to the end that an insurmountable barrier be for ever raised between the contending parties, and that all ideas of law-suits or personal quarrels, no matter whence they arise, be permanently nullified, I require, in the name of his Majesty, that the disguise which has to this day enabled a woman to pass for the Chevalier d'Eon shall entirely cease, and without seeking to blame Charles-Geneviève-Louise-Auguste-Andrée-Timothée d'Eon de Beaumont for a concealment of condition and sex, the responsibility of which rests entirely with her relatives, and whilst rendering justice to the prudent, decorous, and circumspect conduct she has at all times observed in the dress of her adoption whilst preserving a manly and vigorous bearing; I require, absolutely, that the ambiguity of her sex, which has afforded inexhaustible material for gossip, indecent betting, and idle jesting liable to be renewed, especially in France, which her pride would not tolerate, and which would give rise to fresh quarrels that could only serve, perhaps, to palliate and revive former ones; I require, absolutely, I say, in the name of the King, that the phantom Chevalier d'Eon shall entirely disappear, and that the public mind shall for ever be set at rest by a distinct, precise, and unambiguous declaration, publicly made, of the true sex of Charles-Geneviève-Louise-Auguste-Andrée-Timothée d'Eon de Beaumont before she returns to France, and by her resumption of female attire; with all of which she should the more readily comply just now, considering how interesting she will appear to both sexes, alike honoured by her life, her courage, and her talents. Upon which conditions, I will deliver to her the safe conduct on parchment, signed by the King and his Minister for Foreign Affairs, which allows her to return to France and there remain under the special and immediate protection of his Majesty, who is desirous not only of according protection and security under his royal word, but who is good enough to change the yearly pension of 12,000 livres granted by the late King in 1766, which has been punctually paid to her to this day, into a life-annuity of the same amount, with an acknowledgment that the capital of the said annuity has already been provided and advanced by the said Chevalier d'Eon in furthering the concerns of the late King, besides other larger sums, the total of which will be remitted by me for the liquidation of her debts in England, with a copy on parchment of the deed for the said annuity of 12,000 livres tournois, dated September 28, 1775.

And I, Charles-Geneviève-Louise-Auguste-Andrée-Timothée d'Eon de Beaumont, hitherto known as the Chevalier d'Eon, as above styled, submit to the whole of the above conditions imposed in the name of the King, solely that I may afford to his Majesty the greatest possible proofs of my respect and submission, although it would have been far more agreeable to me had he deigned to employ me again in his army or in the diplomatic service, in compliance with my earnest solicitations and in accordance with my seniority. And because, excepting some exhibition of feeling, rendered in a measure excusable by a legitimate and natural desire to defend myself and by the most justifiable resentment, his Majesty is pleased to allow that I have always conducted myself bravely as an officer, and that I have been a laborious, intelligent, and discreet political agent, I submit to declaring publicly my sex, to my condition being established beyond a doubt, to resume and wear female attire until death, unless, taking into consideration my being so long accustomed to appear in uniform, his Majesty will consent, on sufferance only, to my resuming male attire should it become impossible for me to endure the embarrassment of adopting the other, after having tried to accustom myself to it at the Abbaye-Royale of Bernardine Ladies of Saint Antoine-des-Champs, Paris, or at any such other convent as I might select, to which I wish to withdraw for some months on arriving in France.

I declare that I entirely desist from all proceedings, judicial or personal, against the memory of the late Comte de Guerchy and his successors, promising never to renew them unless driven to such a step by judicial proceedings, as above stated.

I further pledge my word of honour that I will deliver to M. Caron de Beaumarchais all official and secret papers, whether concerning the embassy or the aforesaid secret correspondence, without reserving or retaining to myself a single document, upon the following conditions, to which I entreat his Majesty's approval:—

1. Seeing that the letter of the late King, my most honoured lord and master, dated Versailles, April 1, 1766, by which he insured to me the annual pension of 12,000 livres until such time as he should improve my position, is of no further service to me so far as the said pension is concerned, which has been changed, to my advantage, by the King his successor, into a life-annuity of like amount — that the original letter should remain in my possession as testimony of the honour the late King deigned to bestow on my loyalty, my innocence, and my irreproachable conduct during all my misfortunes, and in all matters he deigned to confide to me, whether in Russia, whilst serving in his army, or in England.

2. That the original receipt given to me in London on July 11, 1766, by M. Durand, minister plenipotentiary in England, in exchange for the secret order of the late King, dated Versailles, June 3, 1763, delivered to him by me, intact, and of my own free-will, shall remain in my possession, as authentic testimony of the complete submission with which I surrendered the secret order in the own hand of the King my master, which of itself justified my conduct in England, so often described as being obstinacy by my enemies, and which, in their ignorance of my extraordinary situation in relation to the King, they have even dared to qualify as high treason.

3. That his Majesty will deign, as a special favour, to satisfy himself at the expiration of every six months, as did the late King, of my being alive and of my whereabouts, to prevent my enemies from ever again being tempted to undertake anything to the prejudice of my honour, my liberty, my person, and my life.

4. That the cross of Saint Louis, won by me at the peril of my life, in combats, sieges, and battles in which I took part, where I was wounded, and served as aide-de-camp to the general, and as captain of dragoons and of volunteers in Marshal Broglie's army, with bravery to which all the generals under whom I served have borne witness, shall never be taken from me, and that the right to wear it on any garments I may adopt shall be conceded to me for life.

And if I may be permitted to add a respectful demand to these conditions, I would venture to observe that, at the moment I am about to obey his Majesty in consenting to abandon for ever my male attire, I am entirely destitute of everything — linen, clothing, and apparel suited to my sex, and that I have no money to procure even ordinary necessaries, M. de Beaumarchais knowing well to whom the amount destined in part payment of my debts is owing, and of which I do not wish to touch one penny myself. Consequently, although I have no right to expect further favours from his Majesty, I do not refrain from soliciting at his hands the gift of a sum of money for the purchase of my female outfit, this unexpected, extraordinary, and compulsory expense not being my own idea, but solely in obedience to bis orders.

And I, Caron de Beaumarchais, still as afore styled, do leave with the said Demoiselle d'Eon de Beaumont the original letter conferring so much distinction, which the late King wrote to her from Versailles, April 1, 1766, when granting her a pension of 12,000 livres, in acknowledgment of faithful services.

I further leave with her M. Durand's original document. Neither of these papers can be taken from her by me without a severity that would ill accord with the benevolent and equitable intentions at present entertained by his Majesty towards the said Demoiselle d'Eon de Beaumont. As to the cross of Saint Louis, which she desires to retain with the right of wearing it in female attire, I must admit that, notwithstanding the extreme kindness with which his Majesty has deigned to trust to my prudence, zeal, and intelligence in the conduct of this affair, I am afraid I should be exceeding my powers in determining so delicate a question.

Considering, on the other hand, that the cross of the royal and military order of Saint Louis has ever been regarded solely as the proof of, and reward for, valour, and that several officers who were thus decorated, having abandoned the military career for the church or the law, continued to wear on their new garments this honourable evidence that they had worthily performed their duties in a calling fraught with great dangers; I do not think that there can be any objection to a like indulgence being granted to a valorous maiden who, having been brought up in male attire by her parents, and having courageously fulfilled all the perilous duties imposed by the profession of arms, may not have been aware of the impropriety of adopting the attire in which she had been compelled to live, until it became too late to change, and is therefore not in the least to blame for not having done so until now.

Considering, also, that the rare example offered by this extraordinary maiden is not likely to be followed by those of her sex, and can have no consequences; that had Jeanne d'Arc, who saved the throne and the states of Charles VII., fighting in male attire, obtained during the war, as has the said Demoiselle d'Eon de Beaumont, some military reward or other decoration, such as the cross of Saint Louis, it does not appear that, her task being completed, the King would have deprived her of the honourable reward for valour when requiring her to resume the garments of her sex, nor that any chivalrous French knight would have considered the distinction as being profaned because it ornamented the breast and attire of a woman who, on the field of battle, had ever shown herself worthy of being a man.

I, therefore, venture to take it upon myself, not in the capacity of envoy, lest I should abuse the power confided to me, but as a man persuaded of the rectitude of the principles I have just enunciated; I take it upon myself, I say, to leave with the Demoiselle Charles-Geneviève-Louise-Auguste-Andrée-Timothée d'Eon de Beaumont the cross of Saint Louis, and liberty to wear it on her female attire, without, however, its being understood that I bind his Majesty to this act should he disapprove my conduct on this point; promising only, in the event of any difficulty arising, that I will plead with his Majesty on her behalf, and, if necessary, establish her right thereto, which I believe to be legitimate, with all the power of my pen and the strength of my heart.

With regard to the request made by the said Demoiselle d'Eon de Beaumont to the King, for a sum of money to enable her to procure a female outfit — although such a matter is not included in my instructions, I will not delay taking it into consideration, such an outlay being, as a fact, the necessary consequence of the instructions of which I am the bearer, to the effect that she is to assume the garments of her sex. I therefore allow her, for the purchase of a female outfit, a sum of 2000 crowns, on condition that she will not carry away with her from London any of her clothing, arms, or any male apparel, lest the desire to wear them should at any time be stimulated by the sight of them. I consent to her retaining one complete suit of uniform of the regiment in which she has served, the helmet, sabre, pistols, musket, and bayonet, as souvenirs of her past life, just as are preserved the relics of loved ones now no more. Everything else will be given up to me in London, to be sold, the proceeds to be disposed of in such way as his Majesty may direct.

And this act has been made out in duplicate, between us, Pierre-Augustin-Caron de Beaumarchais, and Charles-Geneviève-Louise-Auguste-Andrée-Timothée d'Eon de Beaumont, under private seal, giving to it, on one side and the other, the whole force and assent of which it is susceptible, and we have, each of us, affixed the seals of our arms, in London, the fifth day of October, 1775.

(Signed)

Caron de Beaumarchais.

D'Eon de Beaumont.

~ translated by Alfred Rieu, originally published in Un Aventurier Au Xviiie Siècle: Le Chevalier d'Éon by Octave Homberg & Fernand Jousselin

This document was actually signed some time latter, d’Eon wanted to backdate it to her birthday, as this was an official recognition of her gender she saw it as a sort of second birth certificate.