Sunday, 11 November 2007

The Lost Prince...Stuart Ancestry

What have you got in your hand?
A green bough.
Where did it first grow?
In America.
Where did it bud?
In France.
Where are you going to plant it?
In the Crown of Great Britain.

The Golden Rose Tree in the Basilica, Venice, bearing seven of the wild white roses that the eighteenth and nineteenth Century Stuarts deployed as their symbol.

Inferred by Oscar Wilde is his story 'The Nightingale and The Rose.'

As Charles Edward Casimir Stuart, the Bonnie Prince Charlie dwindled and died, United Irishmen of late eighteenth century Ireland changed the field behind the Golden Harp on the unofficial flag from blue to green, a colour that came to symbolise inspired rebellion. Emblems such as leaves, branches and 'liberty' trees symbolised rejuvenation and revolution.

During the 1860's and 70's Fenian movement in America and later England , the Unofficial Flag was taken up again. The Green field and Golden Harp now represented proactive Irish Nationalism, and the fight for Home Rule.

Folkore, like a gentle little girl, has a way with secret history. The little ditty and its 'green bough' invoke more than a reference to the new and powerful nineteenth century Fenian movement . In 1847, the Jacobites had been driven back. Bonnie Charlie had soon fled the far reaches of Scotland and taken refuge in Italy and France, where he later began work on the possibilities that might yet remain to his heirs , known and secret, who'd blossomed and put forth shoots.

In 1882, by Walter Sickert's account, a young boy was born to a Hanoverian Stuart Prince, heir apparent to the English throne, and a young Stuart girl.

Above, a lovely sketch apparently designed by Walter Sicker for the boy Jo, of his first Stuart ancestor, Charles I, during his marriage to Henrietta Maria.

Walter Sickert's secret pictures seem to suggest Jo's lineage combines the Royal House of Hanover, (crystallised by King George, hated of the usurped Stuarts,) the House of Saxe Coberg Gotha, (consequent hiers to the British Empire via King George's granddaughter Queen Victoria's marriage) and the Royal House of Stuart, pretenders to the British Empire and rightful claimants according to the Act of Succession. His inheritance apparently derives from Prince Albert Victor Christian Edward, heir to the House of Hanover and the House of Saxe Coberg Gotha ( The throne of England) and 'Mary Kelly', heiress to the displaced House of Stuart.

A sketch of the deeply saddened face of Charles I, perhaps as he faced parliament, before his own ministers sentenced him to death. Drawn by Sickert, for the little boy.

In Sickert's secret pictures we have a layout that tells us that Stuart Confederates, Politicians, Fenian Leaders, Irish rebels and their supporters set out to unite the royal houses in one heir. Jacobite leaders appear to have been uniting a diverse multitude of back street rebels behind their endeavor to put the young pretender forward.

The boy Jo's or 'Joe's' combined inheritance will have dispensed with two centuries of politics that had nullified the dominant Stuart claim to the English throne apparent according to the terms of the Act of Succession.

Rebel Fenian and Jacobite factions to all intents and purposes had achieved their political aim in this little boy. In Young 'Jo' , the position of the House of Hanover was reversed entirely. The House of Saxe Coberg Gotha, ( the then House of Hanover) then headed by the Queen Victoria, would, if it recognised Jo as Eddie's heir, ( and consequently future King of England) have to make way for the old order that existed before the revisions made for convenience during the reign of William of Orange, ( Uniquely accorded the English throne to keep out the Stuarts) by the precincts of which the throne still belonged to Stuart Kings. Who could still, in theory, indeed in principle, exercise their full right to the Act of Succession. While Jo(e) lived, the British Empire was reduced to nothing but a potential, and the constitution was gone. Without him there could be no constitution.. because he lived.

'King of the

The is no 'constitutional crisis' thesis and no 'conspiracy theory' - or as we can now see it, 'Special Branch operation'
vis a vis the Jack the Ripper Murders without evidence for Special Branch targeting the House of Stuart. There is no other constitutional threat to the British monarchy and aristocracy than the Lost House of Stuart: there never has been any other; and there never will be.

Click to enlarge. From Walter Sickert's secret pictures. Here, Walter Sickert appears to be entertaining the young Stuart boy 'Jo' with a picture of a Hanoverian 'Wiley King', usurper to the throne upon which he is seated, who experiences a terrible moment of Divine retribution for his evil and dastardly imposition. An extraordinary Arthurian creature flies through the sky and demonstrates the book of life, upon which the true King's name is presumably recorded. The usurper reels in horror at the sight of it, and his cowardly lion ( presumably Hanoverian) snivels behind him, trembling. Look at him, surrounded by all manner of malicious, wiley courtiers, corrupted elfins and slit eyed personas with devil's symbols. He's taken over the Palace. And 'Lo'! As he trembles before the elfin angel's message, a faithful Stuart messenger in renaissance style clothing ( who appears in other pictures visibly depicting the Stuart battles) boldly sets him in his place, indicating the Catholic Stuart rose, emblem of righteous triumph, lain at his feet. ( Compare the Wild White Rose to the rose in the Golden Rose Tree in St Mark's Basilica, Venice.)

Below, one of Walter Sickerts pictures for Jo/Joe. He draws Guinevere, kidnapped by Mordred, or perhaps rescued by Lancelot, on horseback. Beneath these two he vividly depicts King Arthur's early experience with the Sword in the Stone.

The King the Jacobites called Charles III, the 'Bonnie Prince Charlie', in dangerous exile in Southern France, is reported to have begun a Freemason's Lodge entitled 'The Pelican and the Rose' which adopted two distinct Catholic emblems; the ancient Heraldic Pelican , often depicted plucking out her heart, and the White Rose, the emblem of the Stuart dynasty. In keeping with aspirations demonstrated by a companion of his youth, Gustav III of Sweden, Charles Casimir Edward Stuart appears to have sought to recreate a romanticised ( ancient) regal history, using the eighteenth c. European Stuart Lodges and the history of the Knights' Templar as a means to an end. Gustav III emphasised the Vasa Kings; Bonnie Prince Charlie laid claim to a remote ancestral connection to King Arthur.

Freemasonry that evokes the French Templar Knights as well as the legends of the Knights of the Round table derives from Stuart innovations that began with King James II.

Walter Sickert drew 'Jo' a number of sketches of seventeenth century Stuart ancestors out on the battlefield, in their tasteful attire. In the following sketch, Walter follows the Stuart story from Charles Ist's losses on the battlefield through the period in which the young Prince Charles II trails after his Catholic matron, holding her hand, up until the time the young Prince Charles II restored England to the Stuarts, in 1660.

King Charles Ist's demise is shown top left. In the first picture, at the far left of the page, he's shown surrendering to a soldier who closely resembles Oliver Cromwell, Lord Governor of the Parliamentary Army in 1644. Walter Sickert depicts him surrendering at the battle of Naseby. The little sketch to the right of this one depicts a seventeenth century Parliamentary figure giving King Charles I his marching orders. Charles 1st is thrown out of his Palace and Kingdom and doomed to a period of chaotic exile in England that culminates in his trial and execution.

Down one level, we see the French King's Palace guards outside the entrance to a safe French refuge where King Charles II was sheltered while growing up, prior to his return to England.

There follow pictures of a young man playing with 17th c toys, clowns, hoopla hoops and slings, whose features clearly resemble those of Charles II. ( Note particularly the face of the youth at the centre, shown dangling his sling.) Walter Sickert appears to be telling Joe/Jo about an exiled Stuart King who'd gone before and comparing both their situations. The young King Charles II is also depicted in military costume not unlike his father's. He appears to be preparing for battle, and surveying the land. King Charles II, a covert Catholic, avenged his father in battle and restored the Stuart monarchy to England, Scotland and Ireland in 1660.

Down one level again and we have pictures of young men dressed as soldiers, then Frenchmen assisting King Charles II in battle, then the 'matchstick men' for which Sickert recently became, through his false accusers, somewhat notorious, ( in fact they're very suggestive of Walter Sickert's known influence on the artist Lowry, whom he tutored ) engaged in ferocious duels. At the bottom right hand corner we have the wise, gentle face of a seventeenth c Franciscan Monk. Not least, we have a picture of a very little future King Charles II holding a matronly Catholic hand ( bottom right hand corner ) and one of Charles II with a more elegant lady, apparently his mother Henrietta Maria ( at the centre, above the Venetian Court Jester depicted rolling the hoola hoop.)


And so there the evidence at the origin of the rumours about the Jack rip murders and its apparent association with the Knights' Templar freemasonry element. A little prince with little feet and hands and a frail Stuart constitution, learning his history and the beauty in the legends set afoot by members of his ancestry through a series of pictures 'this is all about you, little boy'..traipsing through the back streets to Walter Sickert's 'the master's' in his worn out shoes 'in an ecstasy of wonder', to hear his wonderful..... stories.

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