History and a Historian

     Due to the nature of ebooks which are relatively novel prospects, there may be many holes, and there are times when those holes may show up. The author, for the record, wishes ebooks were as perfect as a formidable PDF file.

     Therefore, the author has provided the following for you, which represent the color section of the ebook, in brilliant PDF format.

Section A, prophecy.pdf

Section B.pdf

Section C and the Sun.pdf

     About eleven years ago, my brother George, Maj. Ed Dames, and myself at a Technical Remote Viewing seminar.

 The National WW II Museum on American participation.

    
It had a special exhibition with a theme Hollywood and WW II. 

     The 94th Infantry Div.

 of  WW II 

     The National WW II Museum is in New Orleans, Louisiana.  My father George, an infantryman, was in the U.S. 94th Inf. Division.

     If you like history, why not enjoy three exciting World War II books, by Robert C. Valentine:    A Toast For You & Me, America's Participation, Sacrifice and Victory. Vol 1, Vol 2 and the 1944 commemorative volume. Don't forget, 2019 is the 75th Anniversary of the World War II year of 1944, when big, big things began to happen.  (Subsequent volumes are in the workshop and are forthcoming.) 

     My ebook has covered Fatima, Fr. Andrew Wingate, Akita and Garabandal.  In chapter 6, you will deal with the immediate past, like from 30, 40, 60, yrs ago.  But, for now, I thought it would be interesting to tackle something new, that occurred about 70 years ago that was once part of history that was well known in America, and Europe.  The following passages are from a time circa 1947. 

     An American from New Jersey named Thomas McGlynn O.P. went to Fatima.  The O.P. signifies he was a cleric, a Dominican priest.  He passed away in 1977.  His story began with an idea of doing a statue of Our Blessed Mother, but with a unique perspective.  He wanted to interview Sister Lucia and from her mouth get ideas on how best to represent the statue.  He wasn’t even sure if he would get the ok, but he did.  The story is recounted in his book, Vision of Fatima.  I got the 1951 printed version from Great Britain.  A later version has been recently published in 2017.  Lucia when she first left her home and family, was placed in an orphanage and then moved on as a nun.  In winter of 1947, McGlynn was commissioned to make a statue of Our Lady of Fatima and travelled to see Sister Lucia, then known as Irma Dores, brought to her a small model for starters and awaited direction and criticisms.  And, that she did.  This is Rev. McGlynn and his first model.  

     The representation Fr. McGlynn did, was as Lucia told him, a representation that reminded her more of when she saw the Lady in June, when She took out of her pocket a Rosary, draped it over the palm of her right hand and joined her hands in prayer.  Before she joined her hands in prayer, to use Lucia's words, "She appeared at first as in the other apparitions, then she opened her hands, extended her arms to show Fr McGlynn, with the forearm forward of the plane of her waist and elevated only slightly, above the horizontal, and the head gently arched palm downward. 

     Lucia said, "She always had a chord with a little ball of light."  The first investigations of 1917 had called it a cord and tassel, but here Lucia corrected it, confirming it like a little ball of light held by a chord like the way a pendant falls from around the neck.  It went above the waistline.

      Lucia remembered the Lady's left hand was upturned near the center, close to the body, with the finger tips a little below the waist.  Lucia had to correct the hairline.  McGlynn did his model with a hairline that showed to employ a more youthful appearance.  "I never saw the hair," Lucia related.       They took a while getting the right height and extension of the arms and hands, and the description of how the Immaculate Heart appeared, surrounded by thorns.  Quite an image.  She showed the exact position to the sculptor.  He didn't like the idea of a heart appearing out of the body.  But, that was the manner she described it verbatim, and so that is how he did the sculpture. 

     There were only 2 garments visible, a simple tunic and a long mantle, or veil, with the tunic having no collar and no cuffs.  The Madonna had a star, and her dress fell way below the knees.  Our lady was young looking, as a teenager.  The picture above reflects the correct width of the sleeves.   She is not standing on a cloud, she rested on the top of leaves.

     Anyone who interviewed Sister Lucia in the 1940s and 50s saw a sharp, keen mind when she talked.   Lucia affirmed more lines to the veil and tunic, straighter but pointed out to place the lower part of the mantle further to the back.  That messed up the sculptor's grace of composition, as he called it, but he listened.  For 9 days, he stayed at the colegio, in the priest's house as his workshop.  To make a statue which would resemble the apparition as close as possible.

    Above, in black and white is Sister Lucia after the competition of McGlynn's work in 1947.  Subsequently, he was commissioned to do a huge version of the statue which was completed on April 5, 1958.  His work was done at the Daprato Studios in Pietrasanta, a little town known for its involvement in carving marble.  The beautiful statue was dedicated at the shrine in Fatima on May 13, 1958, first placed on a pedestal and then placed in the niche of the tower of the Basilica.

Time Line 2.pdf