All the below is copyright and is being sold together with the painting by Joseph Farington.
This is an opportunity for somebody to own the Battle of Hastings and in effect all the artifacts found arising from it.Including those related to the Knights Templar - founded upon the success of William's campaign. This arising from the copyright being sold here, which itself is based upon the unique observation that William is seen sitting at the foot of a lighthouse on the Bayeux tapestry. This observation itself, is derived from the discovery of the painting shown here, included in the sale , by Joseph Farington, showing the remains of Williams' castle at Hastings in 1797.
This is The only first hand evidence of the Battle of Hastings. (the site being lost to history beneath modern day Hastings, immediately after the painting was made.)
Public record of the ruins of William's castle were lost in an appropriately mysterious fire. (Additionally the painting itself shows a unique perspective of the ruin, from a viewpoint which was blown up in 1832 to make way for a coast road)). Ownership of the copyright is effectively ownership of the battle (of Hastings) , as there is no other first hand evidence of it and there has never been before an observation that the tower shown on the Bayeux tapestry - at Hastings, is a lighthouse. (which makes a lot of sense if one thinks that William came at night)-
-One might note in passing that Caligula's lighthouse at Boulogne stood 300 ft above the sea, (recorded as being refurbished by Charlemange in 811AD (perhaps with the invasion of Britain in mind). William might have had a mast 90 ft tall and Hastings lighthouse may have been 150 to 200 ft tall. Adding in that William arrived on a spring tide, one can surmize a continuous light across William's path to Hastings (which couldn't be observed by his other smaller boats.) Hence they would follow William as recorded. In fact, the current painting showing the site of William's castle -and therefore lighthouse, as shown on the Bayeux tapestry, suggests that William's route was selected because of the lighthouses and indeed perhaps the light house at Hastings was built specifically for the purpose of William's navigation between the light of Calligula's lighthouse at Boulogne and the one built as shown on the Bayeux Tapestry at Hastings. From this, one may estimate the height of the ligthouse at Hastings. Indeed - if one assumes this, then it is apparent that William's fleet left from St.Valery - within sight of Calligula's lighthouse....not by accident. Following the arc of the light from Calligula's lighthouse would take William about 26-29 miles across the channel. (depending upon how high the look-out on his mast was (the replica boat, now being built at Honfleur, is 33 metres long)) When and whereupon he could pick up the light of the Hastings lighthouse...itself 47 miles from Boulogne as the crow flies. This is one of the advantages of leaving on a spring tide...when the lights would be seen from a much greater distance due to the lower sea level.. And the main reason that his own ship was by far the longest (and tallest). (William needed a lighthouse for 3 main reasons -.... 1) because the clifftops are often hidden by mist (which is why generally modern lighthouses are not built on cliff-tops) and 2) the crossing was a total secret - 3) the light source that night needed to be secure on enemy territory. (A light-house in 1066 also was essentially a fortress and signal station against Danish raiders) The lighthouse would also mark the deep-water access to Hastings itself - suitable for his own deep keeled boat and demarking the location of adjacent shallow ponds where his fleet would land (as shown on Farington's painting (seen here for the first time)) . Hastings itself was still regarded as a harbour, even in 1574 when it was marked as 'Hastings Haven Inunded', meaning a harbour at high water, on the Speed map (published1610).
Painting has staining in sky and some fading commensurate with 180 years without a glass cover. The listing includes copyright of all the words below and the painting- which is the only first hand evidence of 'The Battle Of Hastings' as depicted on the Bayeux tapestry and copyright - observation of a light-house on the tapestry and copyright to the original Roman name of Hastings 'Hay saat ea ynaghana'. and much more as described in the listing. It documents in no particular order the discovery of the site of William's motte at Hastings by careful examination of the painting by Joseph Farington in 1797. From this observation of the motte on the beach as also described in the records of Battle Abbey, one must conclude that the tower next to William seated at Hastings shown on the Bayeux tapestry is a lighthouse. A unique observation; never before alluded to in 1000 years. (A defensible beacon which guided William to land at Hastings - the exact site shown in this Farington painting)As long as this advert is on ebay it will become the new history of the United Kingdom and indeed the whole English speaking world. (The Normans bringing 'English' with them). All the time growing in value. To realise this value you will need the finances and resources to protect the copyright which you are purchasing.Publisher Peter T. Reynolds1 Lever Street Hazel groveStockport SK74ENUnited Kingdom(business details and contact info below, editor Kim Rathbone)Owners of copyright and to whom licensing enquiries should be addressed.(A six page dossier outlining the context of the below)I lay claim to the copyright of the below ideas by virtue of their first publication and a share in the finds at the site of Cross In hand Beacon as belonging to the Battle Of Hastings (particularly the 'Battle of Heathfield' or 'Herst' as it should be known at the exact site here pictured in the listing) now at Cross In Hand, at the hill of the now site of the English Woodland Tree Nursery) Previously the site of the beacon at 'Cross in Hand', prior 'Herst on hara n apuldran' (Herst on the the Chichester Road (Later Eisen Hurst))I believe the actual lane on which Harold stood was the lane to the beacon - which was called 'Bell Fire Drum Lane' - a corruption from the Arabic haran apuldran 'Hara Na Pul Dran' ' Anglo French corruption - 'hara na pel drum' . Old French apel - to call, in particular 'muster' - literally drum up support by sound - pel - bell in arabic, Hara Arabic for lane. This applied to the whole defensive system - with Apuldreham in the west and Apuldre in the east. Both also anchorages - puldre - translating as 'buldar' in Arabic. Boulder an anchor in the early Roman period. Opposite Apuldre (Appledore) is 'Stone in Oxney' the stone referring to an anchor - still existing and used as an altar in the church. Also Apuldre more generally the word for a 'tree' which could be used for all of these signalling functions and which more generally gave its name to a 'beacon'. I think the letter A means 'Beacon' by virtue of the shape of the letter. So other towns and place names beginning with A are likely beacons. This is perhaps the origin of the letter A.Beacons were crucial for survival in prehistory. The use of the letter or symbol A primal. Perhaps used in cave painting.Rebecca Welsh pointing out that Puldre might also refer to pollarded. So the avenue to the beacon of pollarded trees used for fuel for the beacon, defence from arrows protecting flanks of the hill fort, a source of food and wood for arrows and weapons when under siege and called a 'Fosse' from the Latin - i.e. 'A bank of new growth' to supply fuel to the beacon or beacons = Hence the 'Fosse Way' a chain of beacons. Fosse taking the meaning 'Novus Agger' or 'Bank of New Growth'. So Bank taking the meaning wall (fortification) but also - resource. (Hence a 'Bank' being fortified for protection and as a store of resources (sounds familiar' as in Barclays bank.etc.)The suffix Na changing the meaning of Hara from 'Lane' to 'Hot' - So Hara Na actually 'fire lane' in the context of a lane to a beacon.As I also suggest 'Boum' is Norman for lighthouse or signal house - a tree of sound etc. The lighthouse at Hastings (Burj Hestinga), I contest shown on the Bayeux Tapestry next to and integral with, William's castle at Hastings.
By virtue of my discovering the said location of the final Battle Of Hastings (at Senlac) as the site of the Battle of Hastings at Senlac - now the ridge at Cross In Hand (previously believed to be at Battle)The site at Cross In Hand (Prior Heathfield - prior - 'HERST' at haran apuldran) (HERST refering to the quarry which existed at the foot of the hill - appearing on maps from 1920 - previously an iron ore mine and site of Harold's armory and being referred to as the site of the battle in records of Battle Abbey) _The remains of the original Battle Abbey on the Western flank of the ridge before being moved to its current site of 'Battle' as per the records of Battle Abbey......the hill being named Senlac because it is between 'sandy lakes' which still exist at its foot..And which can be identified as Malfosse - a location into which cavalry would fall because of the lay of the land and their charge - along the foot of the hill being precarious - balanced at its edge.Although the Battle Of Hastings has previously been claimed the to be at modern day Heathfield - I show (remebering that Heathfield did not exist in 1066)1.) Exactly the site of the battle, - on the ridge leading from the English Woodland tree nursery (on the A267 at modern day Cross In Hand) corresponding to an ancient ridgeway and cross roads (east -west (running from Apuldre (Appledore) in the east to Apuldreham (Appledram) in the West / north- south- in fact in 1066 having the name - 'Haran apuldran' (previouly described as 'The Hoary Apple Tree') which was also used as a key descriptor of the site in texts (It I suggest rather a corruption from the Romano -Arabic for 'Beacon Lane' 'Hara na Pul Dran' - following my identification of the word 'Hastings' as also corresponding to the Arabic 'Hay saat ea ynaghana' - meaning 'It Will Succeed Us' and 'Ashburnham' as the Arabic for 'Arise port' (and thus the tidal port accessible from the sea at Spring High Tide {in this case crucially in respect of the battle -on the 13th or 14th of the October 1066})) - The key feature and locator of the final battle site in 1066 therefore its beacon and the lane of pollarded trees which led up to it (as shown on the Bayeux Tapestry) and the east / west 'hara' or road - running from Chichester to Apledore in kent. Identifying it, together with it's quarry or mine at its foot (Herst), as a Beacon-Hill-fort. The tree lined lane ('Hara' - possibly 'Hara-n') I contest called a 'FOSSE' , having the joint meaning of a ditch (as a component of defense), but also of, 'Novus Agger' - meaning 'Bank of New Growth' -pollarded trees (they're being pollarded -credit Rebecca Welsh), I contest to supply the beacon with wood, arrows, weapons and shelter (tents). (as also applied to the 'FOSSE WAY' and the beacon sites which were connected by the Fosse Way)2.) I show the original site of Battle Abbey, here shown on the western flank of the ridge along 'hara na pul dran' as described in the records of the relocated Battle Abbey - those records kept at its later site of Battle.3.) I show the site of 'The quarry', which was described as 'Herst' in the records of Battle Abbey, there being described as the site of the Battle. (Herst as seen in the modern name for 'Cross In Hand' - Isenherst - - 'Isen would not have been needed as a descriptor in 1066 as all 'Hersts' would be iron foundries - the uniqueness of this particular 'Herst' as a locator, being that it is at the foot of the (Cross In Hand - prior 'hara na pul dran' - beacon - so locally providing arms to defend the beacon) Located at the intersection with the ridge track, beacon lane (hara na pul dran), from the English Woodland Tree Nursery with the A267 (then the Chichester road from Apuldre to Apuldreham) The beacon an integral part of this 'Hara n Apuldran'. - Beacon road or lane. (perhaps being unmetalled)In this respect - I also identify 'The Fyrd' - specifically as those 'beckoned' - 'beacon'd' - Fyr being Norse for 'Beacon'. Hence the beacon the key characteristic of Harold's method of fighting (and the then contemporary and highly evolved status quo method of fighting in Britain- turned over by William) . Thus crucially identifying the battle as occurring at a beacon-hill-fort.
Thus I identify where finds should be made and therefore lay claim to a share in those finds.
Moreover I lay claim to the use of the Bayeux Tapestry in the context that it embodies a light or signal house, adjacent and or integral to William's castle at Hastings), the site of which I locate at the foot of what is now the castle headland and I contest marked Boum (French and High german (Bohon or similar) for signal beacon using resonance or amplification of light and sound) on a 1798 map (Hastings Observer 12th Feb 2021). The site being on top of a Roman fort I discovered (and part reported in the Hastings Observer) in a 1776 Grose print of Hastings Castle looking down at the beach.) and I contest is made using a sea-curing Roman concrete made with the admixture of volcanic Ash from Naples and or ash locally from iron workings and lime from the lime kilns on the headland at Hastings. Moreover the name of the Roman fort derived from the Arabic ' HAY SAAT EA YNAGHANA' meaning 'IT WILL SUCCEED US' But named in conjoinder with the name of the tribe - The Hestinga - who were already there and remained after the Romans left, deriving their name as horse herders or semi-nomadic horse traders and breeders and crucially having their own historic horse grazing lands around modern day Hastings.(marked on the earliest maps as Haestingas - I suggest this applies undifferentiated to both the area and the tribe The Haestingas (this important to interpretation of events as seen described on the Bayeux Tapestry - and particulay William's relationship with ' The Hestingas ' ( I contest there referred to simply as 'Hestingas')) This would suggest the Romans were also trading with the Hestinga before they invaded - like William. (Although there is no written record of this - and indeed no reference to Hastings until 700 AD - so one must use the name of the Roman fort, as I here identify, particularly, 'Hay saat ea ynaghana' as the earliest origin of the name 'Hastings' itself (meaning 'It Will Succeed Us' - derived from the Arabic) This throws into serious doubt the previous universally held idea that Hastings derives from the translation from the Old English as 'Followers Of Haesta'. Indeed I here contest - more obviously -the word derives in part as an English corruption from the Danish - 'Followers of Horses' - The Roman name perhaps a marriage in terms of onomatopoetic utterance and functional description of both a 'domesticated horse' and a 'concrete fort'. (It Will Follow Us)
(The lighthouse as I contest seen in the Tapestry used as a beacon for William's landing at Hastings, navigating through a narrow rocky channel to make an unopposed landing in the unique tidal lagoons of Hastings beach. Shown by myself for the first time in this painting by Joseph Farington. The lighthouse -being stone would exist prior to William's landing and would guide him at night through or up until the start of the rocky channel at Hastings, to an unopposed landing in the morning..I'd be interested in any legally qualified person who would wish to defend this copyright covering , film. media. print and television rights.PTR 23/03/2021
All the below is copyright and is being sold together with the painting by Joseph Farington.
This is an opportunity for somebody to own the Battle of Hastings and in effect all the artifacts found arising from it.
Including those related to the Knights Templar - founded upon the success of William's campaign. This arising from the copyright being sold here, which itself is based upon the unique observation that William is seen sitting at the foot of a lighthouse on the Bayeux tapestry. This observation itself, is derived from the discovery of the painting shown here, included in the sale , by Joseph Farington, showing the remains of Williams' castle at Hastings in 1797.
This is The only first hand evidence of the Battle of Hastings. (the site being lost to history beneath modern day Hastings, immediately after the painting was made.)
Public record of the ruins of William's castle were lost in an appropriately mysterious fire. (Additionally the painting itself shows a unique perspective of the ruin, from a viewpoint which was blown up in 1832 to make way for a coast road)). Ownership of the copyright is effectively ownership of the battle (of Hastings) , as there is no other first hand evidence of it and there has never been before an observation that the tower shown on the Bayeux tapestry - at Hastings, is a lighthouse. (which makes a lot of sense if one thinks that William came at night)-
-One might note in passing that Caligula's lighthouse at Boulogne stood 300 ft above the sea, (recorded as being refurbished by Charlemange in 811AD (perhaps with the invasion of Britain in mind). William might have had a mast 90 ft tall and Hastings lighthouse may have been 150 to 200 ft tall. Adding in that William arrived on a spring tide, one can surmize a continuous light across William's path to Hastings (which couldn't be observed by his other smaller boats.) Hence they would follow William as recorded. In fact, the current painting showing the site of William's castle -and therefore lighthouse, as shown on the Bayeux tapestry, suggests that William's route was selected because of the lighthouses and indeed perhaps the light house at Hastings was built specifically for the purpose of William's navigation between the light of Calligula's lighthouse at Boulogne and the one built as shown on the Bayeux Tapestry at Hastings. From this, one may estimate the height of the ligthouse at Hastings. Indeed - if one assumes this, then it is apparent that William's fleet left from St.Valery - within sight of Calligula's lighthouse....not by accident. Following the arc of the light from Calligula's lighthouse would take William about 26-29 miles across the channel. (depending upon how high the look-out on his mast was (the replica boat, now being built at Honfleur, is 33 metres long)) When and whereupon he could pick up the light of the Hastings lighthouse...itself 47 miles from Boulogne as the crow flies. This is one of the advantages of leaving on a spring tide...when the lights would be seen from a much greater distance due to the lower sea level.. And the main reason that his own ship was by far the longest (and tallest). (William needed a lighthouse for 3 main reasons -.... 1) because the clifftops are often hidden by mist (which is why generally modern lighthouses are not built on cliff-tops) and 2) the crossing was a total secret - 3) the light source that night needed to be secure on enemy territory. (A light-house in 1066 also was essentially a fortress and signal station against Danish raiders) The lighthouse would also mark the deep-water access to Hastings itself - suitable for his own deep keeled boat and demarking the location of adjacent shallow ponds where his fleet would land (as shown on Farington's painting (seen here for the first time)) . Hastings itself was still regarded as a harbour, even in 1574 when it was marked as 'Hastings Haven Inunded', meaning a harbour at high water, on the Speed map (published1610).
Painting has staining in sky and some fading commensurate with 180 years without a glass cover. The listing includes copyright of all the words below and the painting- which is the only first hand evidence of 'The Battle Of Hastings' as depicted on the Bayeux tapestry and copyright - observation of a light-house on the tapestry and copyright to the original Roman name of Hastings 'Hay saat ea ynaghana'. and much more as described in the listing. It documents in no particular order the discovery of the site of William's motte at Hastings by careful examination of the painting by Joseph Farington in 1797. From this observation of the motte on the beach as also described in the records of Battle Abbey, one must conclude that the tower next to William seated at Hastings shown on the Bayeux tapestry is a lighthouse. A unique observation; never before alluded to in 1000 years. (A defensible beacon which guided William to land at Hastings - the exact site shown in this Farington painting)
As long as this advert is on ebay it will become the new history of the United Kingdom and indeed the whole English speaking world. (The Normans bringing 'English' with them). All the time growing in value. To realise this value you will need the finances and resources to protect the copyright which you are purchasing.
Publisher
Peter T. Reynolds
1 Lever Street
Hazel grove
Stockport SK74EN
United Kingdom
(business details and contact info below, editor Kim Rathbone)
Owners of copyright and to whom licensing enquiries should be addressed.
(A six page dossier outlining the context of the below)
I lay claim to the copyright of the below ideas by virtue of their first publication and a share in the finds at the site of Cross In hand Beacon as belonging to the Battle Of Hastings (particularly the 'Battle of Heathfield' or 'Herst' as it should be known at the exact site here pictured in the listing) now at Cross In Hand, at the hill of the now site of the English Woodland Tree Nursery) Previously the site of the beacon at 'Cross in Hand', prior 'Herst on hara n apuldran' (Herst on the the Chichester Road (Later Eisen Hurst))
I believe the actual lane on which Harold stood was the lane to the beacon - which was called 'Bell Fire Drum Lane' - a corruption from the Arabic haran apuldran 'Hara Na Pul Dran' ' Anglo French corruption - 'hara na pel drum' . Old French apel - to call, in particular 'muster' - literally drum up support by sound - pel - bell in arabic, Hara Arabic for lane. This applied to the whole defensive system - with Apuldreham in the west and Apuldre in the east. Both also anchorages - puldre - translating as 'buldar' in Arabic. Boulder an anchor in the early Roman period. Opposite Apuldre (Appledore) is 'Stone in Oxney' the stone referring to an anchor - still existing and used as an altar in the church.
Also Apuldre more generally the word for a 'tree' which could be used for all of these signalling functions and which more generally gave its name to a 'beacon'. I think the letter A means 'Beacon' by virtue of the shape of the letter. So other towns and place names beginning with A are likely beacons. This is perhaps the origin of the letter A.
Beacons were crucial for survival in prehistory. The use of the letter or symbol A primal. Perhaps used in cave painting.
Rebecca Welsh pointing out that Puldre might also refer to pollarded.
So the avenue to the beacon of pollarded trees used for fuel for the beacon, defence from arrows protecting flanks of the hill fort, a source of food and wood for arrows and weapons when under siege and called a 'Fosse' from the Latin - i.e. 'A bank of new growth' to supply fuel to the beacon or beacons = Hence the 'Fosse Way' a chain of beacons. Fosse taking the meaning 'Novus Agger' or 'Bank of New Growth'. So Bank taking the meaning wall (fortification) but also - resource. (Hence a 'Bank' being fortified for protection and as a store of resources (sounds familiar' as in Barclays bank.etc.)
The suffix Na changing the meaning of Hara from 'Lane' to 'Hot' - So Hara Na actually 'fire lane' in the context of a lane to a beacon.
As I also suggest 'Boum' is Norman for lighthouse or signal house - a tree of sound etc. The lighthouse at Hastings (Burj Hestinga), I contest shown on the Bayeux Tapestry next to and integral with, William's castle at Hastings.
By virtue of my discovering the said location of the final Battle Of Hastings (at Senlac) as the site of the Battle of Hastings at Senlac - now the ridge at Cross In Hand (previously believed to be at Battle)
The site at Cross In Hand (Prior Heathfield - prior - 'HERST' at haran apuldran) (HERST refering to the quarry which existed at the foot of the hill - appearing on maps from 1920 - previously an iron ore mine and site of Harold's armory and being referred to as the site of the battle in records of Battle Abbey) _The remains of the original Battle Abbey on the Western flank of the ridge before being moved to its current site of 'Battle' as per the records of Battle Abbey......the hill being named Senlac because it is between 'sandy lakes' which still exist at its foot..And which can be identified as Malfosse - a location into which cavalry would fall because of the lay of the land and their charge - along the foot of the hill being precarious - balanced at its edge.
Although the Battle Of Hastings has previously been claimed the to be at modern day Heathfield - I show (remebering that Heathfield did not exist in 1066)
1.) Exactly the site of the battle, - on the ridge leading from the English Woodland tree nursery (on the A267 at modern day Cross In Hand) corresponding to an ancient ridgeway and cross roads (east -west (running from Apuldre (Appledore) in the east to Apuldreham (Appledram) in the West / north- south- in fact in 1066 having the name - 'Haran apuldran' (previouly described as 'The Hoary Apple Tree') which was also used as a key descriptor of the site in texts (It I suggest rather a corruption from the Romano -Arabic for 'Beacon Lane' 'Hara na Pul Dran' - following my identification of the word 'Hastings' as also corresponding to the Arabic 'Hay saat ea ynaghana' - meaning 'It Will Succeed Us' and 'Ashburnham' as the Arabic for 'Arise port' (and thus the tidal port accessible from the sea at Spring High Tide {in this case crucially in respect of the battle -on the 13th or 14th of the October 1066})) - The key feature and locator of the final battle site in 1066 therefore its beacon and the lane of pollarded trees which led up to it (as shown on the Bayeux Tapestry) and the east / west 'hara' or road - running from Chichester to Apledore in kent. Identifying it, together with it's quarry or mine at its foot (Herst), as a Beacon-Hill-fort. The tree lined lane ('Hara' - possibly 'Hara-n') I contest called a 'FOSSE' , having the joint meaning of a ditch (as a component of defense), but also of, 'Novus Agger' - meaning 'Bank of New Growth' -pollarded trees (they're being pollarded -credit Rebecca Welsh), I contest to supply the beacon with wood, arrows, weapons and shelter (tents). (as also applied to the 'FOSSE WAY' and the beacon sites which were connected by the Fosse Way)
2.) I show the original site of Battle Abbey, here shown on the western flank of the ridge along 'hara na pul dran' as described in the records of the relocated Battle Abbey - those records kept at its later site of Battle.
3.) I show the site of 'The quarry', which was described as 'Herst' in the records of Battle Abbey, there being described as the site of the Battle. (Herst as seen in the modern name for 'Cross In Hand' - Isenherst - - 'Isen would not have been needed as a descriptor in 1066 as all 'Hersts' would be iron foundries - the uniqueness of this particular 'Herst' as a locator, being that it is at the foot of the (Cross In Hand - prior 'hara na pul dran' - beacon - so locally providing arms to defend the beacon) Located at the intersection with the ridge track, beacon lane (hara na pul dran), from the English Woodland Tree Nursery with the A267 (then the Chichester road from Apuldre to Apuldreham) The beacon an integral part of this 'Hara n Apuldran'. - Beacon road or lane. (perhaps being unmetalled)
In this respect - I also identify 'The Fyrd' - specifically as those 'beckoned' - 'beacon'd' - Fyr being Norse for 'Beacon'. Hence the beacon the key characteristic of Harold's method of fighting (and the then contemporary and highly evolved status quo method of fighting in Britain- turned over by William) . Thus crucially identifying the battle as occurring at a beacon-hill-fort.
Thus I identify where finds should be made and therefore lay claim to a share in those finds.
Moreover I lay claim to the use of the Bayeux Tapestry in the context that it embodies a light or signal house, adjacent and or integral to William's castle at Hastings), the site of which I locate at the foot of what is now the castle headland and I contest marked Boum (French and High german (Bohon or similar) for signal beacon using resonance or amplification of light and sound) on a 1798 map (Hastings Observer 12th Feb 2021). The site being on top of a Roman fort I discovered (and part reported in the Hastings Observer) in a 1776 Grose print of Hastings Castle looking down at the beach.) and I contest is made using a sea-curing Roman concrete made with the admixture of volcanic Ash from Naples and or ash locally from iron workings and lime from the lime kilns on the headland at Hastings. Moreover the name of the Roman fort derived from the Arabic ' HAY SAAT EA YNAGHANA' meaning 'IT WILL SUCCEED US'
But named in conjoinder with the name of the tribe - The Hestinga - who were already there and remained after the Romans left, deriving their name as horse herders or semi-nomadic horse traders and breeders and crucially having their own historic horse grazing lands around modern day Hastings.
(marked on the earliest maps as Haestingas - I suggest this applies undifferentiated to both the area and the tribe The Haestingas (this important to interpretation of events as seen described on the Bayeux Tapestry - and particulay William's relationship with ' The Hestingas ' ( I contest there referred to simply as 'Hestingas')) This would suggest the Romans were also trading with the Hestinga before they invaded - like William. (Although there is no written record of this - and indeed no reference to Hastings until 700 AD - so one must use the name of the Roman fort, as I here identify, particularly, 'Hay saat ea ynaghana' as the earliest origin of the name 'Hastings' itself (meaning 'It Will Succeed Us' - derived from the Arabic) This throws into serious doubt the previous universally held idea that Hastings derives from the translation from the Old English as 'Followers Of Haesta'. Indeed I here contest - more obviously -the word derives in part as an English corruption from the Danish - 'Followers of Horses' - The Roman name perhaps a marriage in terms of onomatopoetic utterance and functional description of both a 'domesticated horse' and a 'concrete fort'. (It Will Follow Us)
(The lighthouse as I contest seen in the Tapestry used as a beacon for William's landing at Hastings, navigating through a narrow rocky channel to make an unopposed landing in the unique tidal lagoons of Hastings beach. Shown by myself for the first time in this painting by Joseph Farington. The lighthouse -being stone would exist prior to William's landing and would guide him at night through or up until the start of the rocky channel at Hastings, to an unopposed landing in the morning..
I'd be interested in any legally qualified person who would wish to defend this copyright covering , film. media. print and television rights.
William would take an oath - The so-called 'WILLEM OATH' never to reveal the treacherous role of the Hestenga (Or Hestinga - {both seen on the Bayeux tapestry}) in his invasion. This defended to this day by the Knights Templar and The Order of the Garter of the Royal Household etc. It is the cornerstone of the United Kingdom and the enduring role of Royalty in it.
Whosoever you are and whatever your level of understanding of the Battle of Hastings, - (even if you are a Knights Templar) this pamphlet reveals to you - for the first time in a 1000 years the following.
(see also my 12th February 2021 article in the Hastings Observer. -Did William land his horses at Hastings? and 2010 & 2012 papers at Toward A Science Of Consciousness (univ. Arizona) Peter T. Reynolds - Did Mirrors cause Consciousness?) And my Film 'THE ICEMAN' 2017 - concerning the effects of the discovery by stone age man of the first hand-held-mirror.
1. That William's castle as depicted on the Bayeux Tapestry has a lighthouse-signal-tower or house - lined with polished metal mirrors. Rather amazingly, in a 2015 article 'Signalling Intent: Beacons, Lookouts and Military Communications
John Baker and Stuart Brookes '
the authors note that in the Bayeux Tapestry, the Normans are burning a house down as a signal, in response to William having received news of Harold and is thus decamping from Hastings. But the authors do not realize that William, in the same image, is sitting at the foot of 'his' signal tower or light house -in his castle and holding a flag, all three being methods of communication. (also using the sun's reflection and the same structure as a fire beacon (or light-house) with the tiles as a reflector) Indeed the beacon which probably guided William across the channel and the rocks which marked the entrance from the sea to the deep channel at Hastings, at night, fired by the Hestengs (or Hestinga, more correctly). It must have existed prior to William's landing - as it appears stone-built and William would not have had time to build such a structure. (experiments at the time reporting that it was possible to signal across the channel at night - although it might have been 150 foot plus sparks and smoke emitted from its chimney stack above water at low tide, when William would have been half way across the channel and therefore visible, perhaps 17 miles out or as much as twice that)
2. The exact location of William's castle at Hastings ( a detailed annotated map)
3. That the footings of the Roman fort were made of a sea/curing concrete utilizing ash from local iron workings - just as that used in Alexandria, possibly also utilizing imported volcanic ash from Naples, the concrete also being made with lime mortar from the lime kilns seen operating on the Castle headland in the early 1800s thus being solid enough to build a stone light house signal tower, prior to William's landing, to be used during the course of his invasion to signal Harold's army arriving as shown in the Bayeux tapestry and also later to signal the arrival of Harold's archers on the coast, forcing William into battle.
(The fort would have appeared as almost Alien at the time - being the only such structure outside of the Mediterranean - and a worthy site to be connected to historically) Now mostly built upon as Roman concrete provides solid foundations. (Pelham Crescent deriving its name from the fortification. From the Arabic.
4. William would use the lagoons as seen for the first time in my Farington 1797 painting on the beach at Hastings (corroborated by that of Grimm 1784) to land his bespoke navy. (I show an annotated map including its salient features never before understood as being the exact site of William's landing)
5. How he would achieve this landing using a Viking technology and battle strategy never before alluded to.
6. The day of the battle -14th of October 1066 would be determined by the second Spring high tide of the lunar month at Ashburnham, beginning at the Spring High Tide on the 28th September when William first set foot in Hastings- (then guided by the lighthouse at Hastings as seen integral to William's castle there on the Bayeux tapestry and marked 'Boum' on a 1797 map (Hastings Observer 12th March 2021)) - This second high tide - perhaps on the 13th of October would determine that Harold's navy and archers could not reach him if William would engage at this time. (had the wind been fair for them or had changed direction suitably). William, arming against the possibility that Harold's fleet would arrive at this high tide - at Ashburnam (Arabic for 'Highport -literally 'Ariseport '-- the nearest point which Harold's fleet could get to him at Spring high Tide on the 13-14th of October)) Ashburnham having the conjoined metaphoric meaning derived from the burning of wood (perhaps Ash) as a signal point in the landscape - perhaps the point from which William received the signal at Hartings - or 'Ash Burn' from 'Ham' - of Harold's arrival at Cross in Hand. William would thus cut off routes between Harold and his navy by camping at Ashburnham. However after making a sighting of Harold's fleet leaving harbor - probably at the Isle of Wight - (a site out of reach of William's cavalry) the decision to engage Harold would thus be forced on William. Also the longer he waited the more Fyrd (Fyr from Norse for Beacon - the Fyrd thus the 'Beckoned') (and the 'feared) ' would gather at the beacon.
7.The battle at Senlac - at the site of what is today the English Woodlands tree Nursery. Harold to make his stand on the prepared ridge and site of what would later be called 'the Cross In Hand beacon'. I think the name of the track on which Harold stood was Hara na Pel Drum - Bell Drum Fire lane - a corruption of the Arabic brought by the Romans from Byzantium, together with the concrete from which they made their fort at Hastings.- the track to the beacon (also deriving its name as being integral the beacon road (defined by pollarded trees and beacons) running east west from Apledore (Apuldre) to Apledram (Apuldreham) (Chichester). Although in 1066, Isenhurst (Isenherst German for foundry). (as shown above) I think the ridge would be piled with stones from the nearby quarry as marked on maps of 1920 - called HERST which would also provide iron ore for Harold's weaponry.. The beacon would be similar to the one which still exists today at Burwash and has been identified in a book. That beacon actually used in conjuntion with this beacon in 1066, so another physical piece of evidence of the battle. (with the concrete fort at Hastings, and 'hara n apuldran' itself - the roman road - part of which still exists) (and the actual site of the Battle)
8. Revealing that 'The Holy Grail' in fact a simple hand-held-mirror, (see also my film ICEMAN 2017) the first use of which - by a significant religious leader (Jesus Of Nazareth) - an individual whose brain structure allowed this single event to result in the optimization of the myriads of his neural connections, into a 'perfect' bauplan - thus becoming a God incarnate.
9.The Cross In Hand was in all probability a weapon of an iron cross sharpened in different ways and being irresistible when used in sufficient numbers from a fortified high point. It appearing at the start of the Iron Age to replace stones in part as weapons used to throw from such hill forts) And Senlac hill was also the site of Harold's armorer - its name, still used in 2021 - Isnhurst derived from the German Eisenherst - literally iron foundry.
It starts at 'The Cross In Hand', where by legend, Norman knights gathered in 1095 before going on the Crusades........It transpires from the evidence here presented, that there is more than an element of truth in this legend.
At a conference in 2010, I posed that humans became conscious by the discovery and use of hand-held-mirrors in the age of metals.
My Film THE ICEMAN, 2017, posed the effect that such a mirror might have before the age of metals. It postulated the accidental discovery of a polished piece of metal or nugget which could be used as a hand-held-mirror, in the stone age, before the age of metals.
Below is a technical description of what happened to hominids when this event first occurred (as it must have) but can be ignored and taken as read (or just watch the film THE ICEMAN 2017)
My argument was simply that reflections in water weren't useful to early hominids and so were ignored. Only with the discovery and widespread use of metals did mirrors become generally available to hominids. The use of hand-held mirrors, with the advent of the age of metals caused a radical and massive re-organisation of neuronal connectivity in the brain - so complex that it could not be reversed. In particular, synesthetic-connectivity between hand and eye when holding and using a mirror for the first time and a concomitant simultaneous explosion of feedback and resonance in the 'mirror-neuron' system, derived from this neuronal system copying or 'imitating itself' when it first viewed the external effects of 'it's own internal actions' in a hand-held-mirror, caused an effectively permanent change in brain function and structure.
Thus subsequent to the use of hand held mirrors in the age of metals, hominids as a species, no longer depended upon shared group behaviors as their key identifying characteristic.
In short 'self' suddenly emerged - with the use of hand-held-metal mirrors - together with all of its traits which we recognize today. (A similar observation, - of the rapid instantiation of consciousness over the last three thousand years (over the same age of hand-held-mirror use) was made by Julian Jaynes, although my explanation of the events of history are driven by a combination of evolution and the accidental discovery of the reflective characteristics of metals and their utilization for their then unique attribute of a robust reflection which can be held in the hand and manipulated - unlike the reflection in water - which would have only been perceived and absorbed subliminally (humans never having realized the physical changes that mirrors had brought about in their brains). In effect, -until the advent of hand-held-mirrors, hominids (and other species had suffered 'auto -prosopagnosia' or... ''self-face-blindness' when viewing oneself in a mirror'' as I explained in the 2010 conference (Did Mirrors Cause Consciousness?. Toward A Science Of Consciousness Peter.T.Reynolds ....and subsequently at the same conference in 2012 - Interlaken Switzerland) until the advent and widespread use of 'hand-held mirrors' - there were in effect, no mirrors and no self image to recognize) (water not providing enough stimulus for hominids to realize a 'self-image'- in respect of their own faces - water having no practical use in this respect). The state of mind which predisposed the hominid brain and led to this explosive utilization of hand-held-mirrors and the multi-faceted traits which it instilled in the species, as we see today, (e.g. your ability to read this description) , and the germ of creative technology which then resulted in the technological world we know today, as a result, was predetermined by the evolution of the ability of hominids to a point where - unlike any other species, they had developed enough control of their environment to support deaf and blind populations. From these populations emerged art, music and complex language, albeit, that, until the discovery and use of hand-held mirrors these abilities were purely reflexive and unconscious. (Peter T. Reynolds Toward A science Of Consciousness 2012 Interlaken) for example, the act of constructing the pyramids of the Pharoahs and indeed the Incas, being conducted by an army of automatons guided by a few who had become conscious by their regular use of good mirrors, especially of gold ("lesser mortals" (literally - possessing 'lesser'-consciousness- using cheaper less reflective metals). This elite were in effect Gods, or Pharoahs - who had discovered self-consciousness through their use of mirrors in the age of metals. Utilizing mirrors purely for their usefulness in applying make-up or in dentistry etc. and unknowingly instantiating self consciousness through their repeated use, especially the images being of good quality because they were made of gold, which was much more reflective than other metals without the need for continued polishing. "Mirror - Mirror, On The wall - Who is the fairest of them all?"
But nevertheless, the use of these mirrors had left a vast change in the almost infinite connectivity of neurons in the brain. To the point that their use had in reality created a species of super-hominids. Or what we think of today as 'Humans'.
Historically, some individuals would have be more affected by their introduction to a hand-held-mirror, (That is - literally - their first conscious experience) than others. Ubiquitously I proposed that the introduction to a 'hand-held-mirror reflection', would have had an earth shattering effect - it would have been a religious experience of itself). With this in mind, I proposed that uniquely, one man, among all others, only needed to see his image in a hand-held-mirror, once, and the radical change in neuronal connectivity which resulted' was in he alone, permanent and realized an optimum template, or 'bauplan' - which could be seen as maximizing the future potential of the species. Thus a real 'God' was formed or realized among others, and instilled amazement in all of those around him, so that those who used hand-held-mirrors and were thus effectively given the use of complex language (of many tongues) and would use this, together with their simultaneous gift of the written word, to write about him and their own religious experience of realizing themselves, through his greater self: unbeknownst to themselves, through their own use of hand-held-mirrors and his different neural make-up and the phenomenal effects which his introduction to a hand-held -mirror, instantiated in him.
I proposed the mirror which that man used became known as the 'Holy Grail'. However - the consequences of using this particular hand-held-mirror might have only been understood by its user, as unlike others, his unique neural make-up allowed him to discard the mirror after its only occasion of use - he, unlike others, subsequently not needing the 'self-reassurance' of hand-held-mirrors to substantiate their self image or their own self.
Jump forward 1000 years and the Normans have been sponsored by the pope to conquer the Holy land and bring back - this - 'Holy Grail'. The Knights Templar formed to fund the conquest of those kingdoms which held stead over it -and its 'magical properties'. Not knowing that it was, in fact, just a humble hand-held-mirror, albeit that it had indeed instantiated a unique religion, which the Pope himself had followed and which was responsible for his very existence.
I show how the Normans under William had developed a modern war machine, with a very precise modus -operandi, exercised against an ancient highly evolved warring strategy based upon stone age methods, which had been effective for thousands of years until it came up against the lateral thinking William and based upon cavalry to take control of England and create the wealth which would further allow them to buy off traditional, ancient nomadic peoples or 'Hestengs' (Danish -meaning 'horse-followers') (I pose in this thesis the Hestengs, a 700000 year old race and explain this assertion ) giving them a foothold in foreign lands, where they could use the simple but very precise battle tactic, which allowed them to overcome a highly evolved and effective means of warfare, developed over thousands of years, based upon the use of 'beacon hill-forts', as designated defensive positions on hilltops.
'The Battle of Hastings being an exemplar of his methodology, beginning with the 'buying off' of the 'Hestengs' or nomadic horse followers of Southern England who naturally opposed the land owning, tax -raising farmers or Saxons and Anglo-Saxons (from Seaxe - I suggest meaning 'plough' - Anglo from Eng or meadow in Danish)),, thus gaining an unopposed foothold in England (Danish - Ploughed land - like 'Poland') from which to apply his highly developed and synergistic cavalry-led tactical denouement and masterpiece. A tactic which he would use repeatedly to conquer the country and form the financial bedrock from which the Normans would begin their quest for the mythical ' Holy Grail' (In fact, they had such hand-held-mirrors in their own possession, albeit that until the advent of silvered glass mirrors, hundreds of years later, they would have recognized and realized that different individuals would have possessed mystical 'god-like qualities'. (unbeknownst to them derived from the greater use of good quality polished mirrors - and William and his 'Knights' would have access to such mirrors through their armorers and their technique of producing hammered sheet armor and polished mirrors - and so William and his 'Knights' would possess the vision necessary to -'see passed' the historic ancient- stone age derived and highly evolved fighting method of Harold - and out-think him at every turn).. It was thus apparent in their day that there might be a 'Holy Grail' from which such mystical, magical, god-like powers spring forth. (That mystical power in fact being the self -consciousness and self-confidence which the use of good hand-held-mirrors imparts)
This then more a pamphlet which describes William's tactics as a response to Harold's highly evolved 'stone-age' derived fighting modus-operandi (ubiquitous throughout the known world and having evolved naturally over thousands of years from the stone age) - culminating in my exposure of the site of the Battle Of Hastings at the Cross In Hand and the site of Harold's body on the shore at Hastings in a castle with a large signal tower or light-house - designated as a 'Boum' -literally a tree of sound. on a 1798 map (Hastings Observer 12th Feb - Did William Land his horses at Hastings? - which had probably guided William across the channel. (The lighthouse both being used to signal using light and sound)
More a detective story with the aid of pictures analyzing the 'Battle Of Hastings', from its inception, as a campaign, to its final execution in a planned unopposed landing on the beach, at the site of the modern Hastings, at 10.55am on the 28th September 1066 (crucially minutes later than the time of High Spring Tide at Pevensey) when William landed his fleet, to the meeting of Norman Knights at the 'Cross In Hand' in 1095 - on their way to the first crusades - sponsored by the Knights Templar, on a Quest for 'The Holy Grail'. 'The fountain of All Things'. My discovery of his methodology as outlined in the 12th February issue of the Hastings Observer (Did William land His horses at Hastings? Peter Reynolds) and of the actual site of the battle at the (later called ) Cross in Hand beacon, fortified hill. And moreover - - as described above, I have already explained their illusory goal.
This all based initially upon research of my own unique and accurate painting of the site of William's castle on the beach at Hastings in 1797 , by Joseph Farington and of the tidal- lagoons on the shore, never before seen, in which William landed in 1066.
This then, about a six A4 page guide to the campaign of 'The Battle Of Hastings' leading to the ultimate Quest for the Holy Grail and the meeting of Norman Knights at the Cross In hand in 1095 before leaving for the Crusades. The tale of a military genius who saw himself in a mirror, in a way that few had before. Indeed my discovery of William's castle at Hastings (Hastings Observer 12th Feb 2021 Peter Reynolds) and of the site of the Battle Of Hastings on the Becon- hill (Beacon-Hill) at Cross In Hand would have been 'The Holy Grail' for many a battle historian. Wiped from the record by it's burial beneath the roots of the appropriately named 'English Woodland Tree Nursery' in 1912, still owned by the Templars, the modern descendants of Norman Knights, before which it was known as 'The Battle of Heathfield'.
The quality of the printing is not great but the informed exposition of the pictures is the most powerful insight into the Battle Of Hastings and of the 'Battle Of Heathfield' - in a thousand years. At every level, From understanding the true physical drivers of William's actions, including the physical mechanism driving his unusual neurological condition to the tactical and military mechanisms which he invented and used to conquer a country with very little man-power and which laid the foundation for the subsequent Crusades and a bank (The Knights Templar) directed at funding a military tactic invented by William.
It is interesting to note that an EU funded study in 2014 (Archaeology, Art & Coastal Heritage: Tools to Support Coastal Management (Arch-Manche) investigated the changing coast at Hastings by examining art from the early 1800's - but the study completely failed to mention the most significant change to the coastline occurring during the period of the study and since well before Roman times. That in particular being the blowing up of the White Rock headland in 1832. (Although this area is clearly defined within the remit of that study and is mentioned in the Hasting Observer blog, from which other observations are taken which are included the 2014 study)). The headland, from which the present painting was executed, created the lagoons also shown in the present painting; and which led the area to be refered to as 'Pond Bay' in the 1795 guide to Hastings and also made the site perfect for William to land in 1066. The headland also led to the Speed map of 1574/1610, describe Hastings as 'Hastings Haven Inunded', meaning that a protected harbour was still active at Hastings at high tide, as would also have existed in 1066. (The White Rock protecting Hastings from the great storms of the 13th century and the consequent and subsequent silting up which happened all along the coast) One might ask whether this omission of the removal of the White Rock headland in 1832, in the 2014 study, was deliberate, as the EU funded study must have been expensive and thorough. And this removal of the headland would have removed the protection of the whole sea-front and area of study, from long-shore drift and from storms. Likewise , modification of the sea-front by Boyket Breeds, and the creation of the 'America-Ground' in the early 1800s is not mentioned.
Crucial to the detail of the present painting, the view is from sea-level - looking back to the beach. The 2014 EU funded study also highlights the importance of such 'sea-level' paintings in identifying the profile of the sea-front and it also highlights the significance given to the known accuracy of the artists conducting the painting, and their likelihood to use artistic licence to embellish their paintings. In this context, that of objectivity, Farington would be at the top of any list as he was used by the military to map the 'Siege Of Valenciennes' and could well have been in Hastings on this particular occasion to scope the lay of the land for the specific purpose of siting an 18inch gun captured at the battle of Cape St Vincent, on the White Rock headland soon after (later the same year) this painting was made (as is recorded). (notably - the siting of this gun is not mentioned in the 2014 study although the siting of other guns at this time, at Hastings, is considered, again removing mention of the White Rock headland as though it never existed.)
The last picture above, drawn by William Daniell in 1821 was used by the 2014 EU project looking at changes in coastal topography over time. It shows that by 1821 - just 24 years after Farington's painting, the whole area beneath the 'castle headland' had been flattened and used to build on. Including the flattening of William's Motte.