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Episode 4: The last episode examines the fall of the Templars. Their financial holdings appealed to a failing monarchy, they become the target for the financially strapped French King, and are arrested, tortured, tried and burned.

Episode 3: It lays the basis for the fall of the Holy Land and the effects it had on the Templars. Reinforced and secure, they lose their ground to the Mamluks. The power struggle plays out, the Holy Land is finally lost to the Crusaders, and the Templars move back into Europe to find they are financially secure, but have no reason now for existence. Episode 4: https://rumble.com/v4rnixh-the-knights-templar-legend-episode-4.html

Episode 2: Explains how much of an important part the Templars played in the construction of the financial basis for that time period in history. The foundation of the Templar finances is examined and clearly laid out. Episode 3: https://rumble.com/v4rncur-the-knights-templar-frontier-episode-3.html

A 2000 four part History Documentary narrated by Art Malik. They wielded a double-edged sword, combining military might and impressive financial power. The Pope himself couldn't escape their long shadow and the whispers about a fabulous secret treasure, which was said to include the Holy Grail and the Ark of the Covenant. So who - or what - brought down the mighty Knights Templar? This is the story of an organisation extinct for nearly seven centuries, but whose legacy still echoes through some of today's "secret societies." The first Templars were French knights dedicated to protecting Christians on pilgrimage to holy sites. Highly trained and passionately devoted to God, they fought with no fear of death and eventually became monks, albeit monks with no problem using a sword on their enemies. The Knights built the world's first multi-national corporation, a huge network of castles, farms and ships all designed to make money to support the Crusades. This financial empire helped Richard the Lionheart and the King of France, but also raised suspicions that these "holy men" were growing too powerful and independent. Thus began the accusations of heresy - and the burnings at the stake. Professor Malcolm Barber, the world's leading Templar historian, explores the impressive rise and rapid fall of a group ahead of its time. Did the Knights cause the Crusades to ultimately fail? What happened to the surviving heroes of the Order? And - even more important - was there a secret treasure and where might it be now? Episode 1: Explains how the Templars came about. They do not mention Hugh de Payne or the original group who are credited with the founding of the Templars, but does pick up from the time of the First Crusades, and does cover the circumstances of why a military order was needed, and how the Order was finally acknowledged and accepted. Episode 2: https://rumble.com/v4rn9yk-the-knights-templar-corporation-episode-2.html

The Leopard (Italian: Il Gattopardo meaning "The Serval") is a 1963 Italian epic period drama film by director Luchino Visconti, based on Giuseppe Tomasi di Lampedusa's novel of the same title. Audio Italian with subtitles in; Italian, English, French, Russian, Spanish. It stars Burt Lancaster, Claudia Cardinale, Alain Delon, Serge Reggiani, Mario Girotti, and Pierre Clementi. Screenplay and adaptation: Suso Cecchi D'Amico, Pasquale Festa Campanile, Enrico Medioli, Massimo Franciosa and Luchino Visconti. Music by Nino Rota. Luchino Visconti won the Palme d'Or at the 1963 Cannes Film Festival. Plot Summary: Set in Sicily at the time of the Bourbon sunset, the novel is based on the family of Giuseppe Tomasi di Lampedusa and in particular on his ancestor, Prince Fabrizio Salina. When the aristocratic Salina family finds themselves spending their holidays in Donnafugata's summer residence, the mayor of the town, the ambitious Don Calogero Sedara, tries to get into the prince's favor. It is during the meeting between these two families that Tancredi, Don Fabrizio's affectionate nephew, is immediately fascinated by Angelica, the beautiful daughter of Don Calogero. Just as these family plots are consumed, the time comes to vote for the annexation of Sicily to the Kingdom of Sardinia, a difficult decision that forces the prince to a profound reflection and an awareness of the historical moment that his generation is crossing. The same year he finished 8½ (1963), Nino Rota dusted off an old symphony of his own composition, he proposed it to Luchino Visconti for this film, the director loved it, and it became the score for this fresco of the social and political changes in Sicily in the midst of the 19th century. The editor Mario Serandrei had given Visconti as a present the sheet music of an unpublished waltz by Giuseppe Verdi that he had found in one drawer of an old chest he bought in a flea market. Rota added this composition to the long final ball sequence. Cast & Characters: Burt Lancaster as Don Fabrizio Corbera, Prince of Salina Claudia Cardinale as Angelica Sedara / Bertiana Alain Delon as Tancredi Falconeri, Don Fabrizio's nephew Paolo Stoppa as Don Calogero Sedara, Mayor of Donnafugata Rina Morelli as Princess Maria Stella of Salina, Don Fabrizio's wife Romolo Valli as Father Pirrone Terence Hill (billed as Mario Girotti) as Count Cavriaghi Pierre Clémenti as Francesco Paolo Lucilla Morlacchi as Concetta Giuliano Gemma as Garibaldi's General Ida Galli as Carolina Ottavia Piccolo as Caterina https://www.imdb.com/title/tt0057091/?ref_=ttalt_alt_tt

Season 2 - Episode 10 (Series Finale): With the restoration of King Charles II, John Fletcher is brought to trial as a regicide. Tom is surprised to be honoured as a Baron by the King.

Season 2 - Episode 9: Cromwell is on his deathbed. Tom Lacey meets with his twin, Anne, to discuss her affair with Horton and finally proposes to Frances. Episode 10 (Series Finale): https://rumble.com/v4rb73z-by-the-sword-divided-tv-series-1983-restoration-1660-s02-e10.html

Season 2 - Episode 8: Martin Fletcher is caught brawling with the village boys and Anne is summoned to London by her husband, John, to discuss his suspicions. Episode 9: https://rumble.com/v4raw60-by-the-sword-divided-tv-series-1983-retribution-1658-s02-e09.html

Season 2 - Episode 7: Sir Thomas Lacey is involved in an uprising plot to recapture Arnescote Castle. Sir Austin Fletcher stands firm. Episode 8: https://rumble.com/v4ras4u-by-the-sword-divided-tv-series-1983-the-mailed-fist-1657-s02-e08.html

Season 2 - Episode 6: Arnescote's 'singing boy' Hugh Brandon discovers his true identity and is horrified to discover who his birth mother is. Episode 7: https://rumble.com/v4ramcq-by-the-sword-divided-tv-series-1983-forlorn-hope-1655-s02-e07.html

Composer: Giaochino Rossini Librettist: Jacopo Ferretti Premiere: 25 January 1817, Rome (Teatro Valle) Language: Italian Subtitles: Italian, English (Click on CC for subtitles) La Cenerentola, ossia La bontà in trionfo ("Cinderella, or Goodness Triumphant") is an operatic dramma giocoso in two acts by Gioachino Rossini. The libretto was written by Jacopo Ferretti, based on the libretti written by Charles-Guillaume Étienne for the opera Cendrillon with music by Nicolas Isouard (first performed Paris, 1810) and by Francesco Fiorini for Agatina, o la virtù premiata [it] with music by Stefano Pavesi (first performed Milan, 1814). All these operas are versions of the fairy tale Cendrillon by Charles Perrault. Rossini's opera was first performed in Rome's Teatro Valle on 25 January 1817. In this variation of the fairy tale, the wicked stepmother is replaced by a stepfather, Don Magnifico. The Fairy Godmother is replaced by Alidoro, a philosopher and tutor to the Prince. Cinderella is identified not by a glass slipper but by her bracelet. The supernatural elements that traditionally characterize the Cinderella story were removed from the libretto simply for ease of staging. Time: Late 18th century – early 19th century Place: Salerno (Italy) Synopsis: https://www.opera-arias.com/rossini/la-cenerentola/synopsis/ In 1981 Jean-Pierre Ponnelle revisited his classic '73 La Scala production of La Cenerentola to create this film version - with Federica von Stade at her bel canto peak as the downtrodden Angelina. Under the guiding hand of Claudio Abbado, Rossini comes to life here in a performance of clarity and polish by the La Scala Chorus and Orchestra that lets the music shine. Cast & Characters: Cenerentola - Frederica Von Stade Don Ramiro - Francisco Araiza Dandini - Claudio Desderi Don Magnifico - Paolo Montarsolo Clorinda - Margherita Guglielmi Tisbe - Laura Zannini Alindoro - Paul Plishka Teatro alla Scala Orchestra & Chorus Harpsichord: Vincenzo Scalera Conductor: Claudio Abbado Chorus Master: Romano Gandolfi Staged, Directed and Designed by Jean-Pierre Ponnelle Director of Photography: David Watkin

Season 2 - Episode 5: King Charles II, defeated at the Battle of Worcester, seeks sanctuary at Arnescote and is treated kindly, before attempting to escape into exile. Episode 6: https://rumble.com/v4raigi-by-the-sword-divided-tv-series-1983-fateful-days-1653-s02-e06.html

Season 2 - Episode 4: Henry Snelling, a witch-finder, arrives at Arnescote Castle and spreads suspicion and distrust that leads to strained relations between John and Anne. Episode 5: https://rumble.com/v4que2b-by-the-sword-divided-tv-series-1983-escape-1651-s02-e05.html

Season 2 - Episode 3: The Fletchers receive Oliver Cromwell at Arnescote, unaware of the dangers involved. Episode 4: https://rumble.com/v4qu5su-by-the-sword-divided-tv-series-1983-witch-hunt-1650-s02-e04.html

Season 2 - Episode 2: The trial and execution of Charles I seems to have put an end to the Royalist cause. Episode 3: https://rumble.com/v4qu0j8-by-the-sword-divided-tv-series-1983-cromwell-at-arnescote-1649-s02-e03.html

Season 2 - Episode 1: Arnescote Castle, home to the mid-seventeenth century Lacey family, is now in the hands of Parliamentarian John Fletcher and his wife Anne. Episode 2: https://rumble.com/v4qtven-by-the-sword-divided-tv-series-1983-cruel-necessity-1649-s02-e02.html

A 1979 videotaped version of Trevor Nunn's Royal Shakespeare Company production of the play by William Shakespeare. Produced by Thames Television, it features Ian McKellen as Macbeth and Judi Dench as Lady Macbeth. The TV version was directed by Philip Casson. The original stage production was performed at The Other Place, the RSC's small studio theatre in Stratford-upon-Avon. It had been performed in the round before small audiences, with a bare stage and simple costuming. The recording preserves this style: the actors perform on a circular set and with a mostly black background; changes of setting are indicated only by lighting changes. Cast & Characters: Ian McKellen as Macbeth Judi Dench as Lady Macbeth John Bown as Lennox Susan Dury as 3rd Witch / Lady Macduff Judith Harte as 2nd Witch / Gentlewoman Greg Hicks as Donalbain / Seyton David Howey as Sergeant / 1st Murderer / Doctor Griffith Jones as Duncan Marie Kean as 1st Witch Ian McDiarmid as The Porter / Ross Bob Peck as Macduff Duncan Preston as Angus Roger Rees as Malcolm Zak Taylor as Fleance / Messenger Stephen Warner as Young Macduff John Woodvine as Banquo

ACT II - The Tower of London Anna is imprisoned in the Tower. She prays for peace and solace. Giovanna appears and informs Anna that the king, and her successor, will spare her life if she confesses her guilt. When Giovanna admits that she is to be the new queen, Anna demands that she leave. Giovanna prostrates herself and begs for forgiveness. News arrives that Smeton has confessed to having had an affair with Anna, having been told that this would spare her life. Enrico bursts in and repeats Smeton's confession. Anna turns it back on the king. Giovanna confronts Enrico, and urges forgiveness and caution. In the Tower Anna recalls her childhood home, and the simplicity of her first love, and as she is summoned to the scaffold she sings a prayer. As cannon fire signals the marriage of Enrico and Giovanna, Anna calls on God to have mercy on the guilty couple. Subtitles: Italian, English, German, French,Spanish (Click on CC to switch on the subtitles).

Composer: Gaetano Donizetti Librettist: Felice Romani after the play Henry VIII by Marie-Joseph de Chenier (1791) and the play Anna Bolena by Alessandro Pepoli (1788) Premiere: 26 December 1830 - Milan (Teatro Carcano) Language: Italian Subtitles: Italian, English, German, French,Spanish (Click on CC to switch on the subtitles). Act II: https://rumble.com/v4qnzqw-donizetti-anna-bolena-act-ii-netrebko-garana-pid-wiener-staatsoper-2011.html Anna Bolena is a tragic opera (tragedia lirica) in two acts composed by Gaetano Donizetti. Felice Romani wrote the Italian libretto after Ippolito Pindemonte's Enrico VIII ossia Anna Bolena and Alessandro Pepoli's Anna Bolena, both recounting the life of Anne Boleyn, the second wife of England's King Henry VIII. It is one of four operas by Donizetti dealing with the Tudor period in English history—in composition order, Il castello di Kenilworth (1829), Anna Bolena (1830), Maria Stuarda (named for Mary, Queen of Scots, it appeared in different forms in 1834 and 1835), and Roberto Devereux (1837, named for a putative lover of Queen Elizabeth I of England). The leading female characters of the latter three operas are often referred to as "the Three Donizetti Queens." Cast & Characters: Enrico VIII - Ildebrando D'Arcangelo Anna Bolena - Anna Netrebko Giovanna Seymour - Elina Garanča Lord Riccardo Percy - Francesco Meli Smeton - Elisabeth Kulman Sir Hervey - Peter Jelosits Lord Rochefort - Dan Paul Dumitrescu Wiener Staatsoper Orchestra & Chorus Conductor: Evelino Pidò Chorus Masters: Thomas Lang, Martin Schebesta Stage Director: Eric Genovese Set Designers: Jacques Gabel, Claire Sternberg Costume Designer: Luisa Spinatelli Recorded Live in 2011 Anna Bolena premiered on 26 December 1830 at the Teatro Carcano in Milan, to "overwhelming success." Weinstock notes that only after this success did Donizetti's teacher, Johann Simon Mayr, "address his former pupil as Maestro." The composer had begun "to emerge as one of three most luminous names in the world of Italian opera", alongside Bellini and Rossini. After the rise of verismo, the opera was performed infrequently. Rarely seen in the first half of the 20th century, it was revived more frequently after World War II. On 30 December 1947, the opera was performed at Gran Teatre del Liceu in Barcelona, to mark that theatre's centennial (it had opened in 1847 with Anna Bolena). The cast was Sara Scuderi as Anna, Giulietta Simionato as Jane Seymour and Cesare Siepi as Henry VIII. In April 1957, the opera was revived at La Scala for Maria Callas (one of the seven performances was recorded) in a lavish production directed by Luchino Visconti, with Giulietta Simionato as Jane Seymour. It proved to be one of Callas' greatest triumphs. In the revival the following year, Callas and Simionato repeated their roles and were joined by Siepi as the king, this role having been sung by Nicola Rossi-Lemeni at the premiere the year before. Several famous modern sopranos have lent their voices to the role, including Leyla Gencer, Montserrat Caballé, Marisa Galvany, Renata Scotto, Edita Gruberova and Mariella Devia. In the 1970s, Beverly Sills earned a considerable degree of fame when she appeared in all three of Donizetti's "Tudor" operas at the New York City Opera. And Anna was one of the last new roles performed by Dame Joan Sutherland, at San Francisco Opera in 1984. SYNOPSIS Time: 1536 Place: Windsor and London ACT I - Windsor Castle The courtiers predict doom for Anna Bolena. Giovanna Seymour, one of her ladies-in-waiting has caught the eye of King Enrico VIII. Alone in her apartments, Anna asks the court musician, Smeton, to play for her. The sadness of his song upsets the queen (with whom he is in love) and she laments the emptiness of her life. Giovanna begins to suspect that Anna knows about her and the king. When the king enters she informs him she wishes to end their meetings. He tells he, that she will soon have no rival for his affections. Giovanna is adamant but the angry Enrico accuses her of loving the throne, not its occupant. She is consumed with remorse. The king sets about orchestrating Anna's ruin by arranging for her to come across her former lover, Lord Riccardo Percy, during a hunt. Percy confesses his love for Anna, but she demands that they do not see each other again. When Percy draws his sword to kill himself, Smeton misinterprets his actions and draws his own weapon. As Anna faints, Enrico bursts in and his wife is compromised. The king assumes the worst, and demands that Anna be tried.

Composer: Giuseppe Verdi Librettist: Francesco Maria Piave Premiere: 6 March 1853, Venice (La Fenice) Language: Italian Subtitles: Italian, English (Click on CC for subtitles) La Traviata Synopsis: https://www.opera-arias.com/verdi/la-traviata/synopsis/ La traviata (The Fallen Woman)is an opera in three acts by Giuseppe Verdi set to an Italian libretto by Francesco Maria Piave. It is based on La Dame aux camélias (1852), a play by Alexandre Dumas fils, which he adapted from his own 1848 novel. The opera was originally titled Violetta, after the main character. It was first performed on 6 March 1853 at La Fenice opera house in Venice. La traviata became one of the most frequently performed operas during Verdi's lifetime. It is often ranked highly on annual lists of most performed operas. Cast & Characters: Violetta Valery - Angela Gheorghiu Alfredo Germont - Ramón Vargas Giorgio Germont - Roberto Frontali Flora Bervoix - Natascha Petrinsky Annina - Tiziana Tramonti Gastone - Enrico Cossutta Dottore Grenvil - Luigi Roni Barone Douphol - Alessandro Paliaga Marchese d'Obigny - Piero Terranova Orchestra, Chorus and Ballet of Teatro alla Scala Conductor: Lorin Maazel Chorus Master: Bruno Casoni Stage Director: Liliana Cavani Renewal by Marina Bianchi Directed for Video and TV by Paola Longobardo Set Design: Dante Ferretti Costumes: Gabriella Pescucci Choreography: Micha von Hoecke

Composer: Gaetano Donizetti Librettist: Salvatore Cammarano, after Sir Walter Scott's 'The Bride of Lammermoor' Premiere: 26 Septemberr 1835, Naples (Teatro San Carlo di Napoli) Language: Italian Translation: Italian and English subtitles (Click on CC to switch on subtitles) Lucia di Lammermoor Synopsis: https://www.opera-arias.com/donizetti/lucia-di-lammermoor/synopsis/ Lucia di Lammermoor is a dramma tragico (tragic opera) in three acts by Italian composer Gaetano Donizetti. Salvadore Cammarano wrote the Italian-language libretto loosely based upon Sir Walter Scott's 1819 historical novel The Bride of Lammermoor. The story concerns the emotionally fragile Lucy Ashton (Lucia) who is caught in a feud between her own family and that of the Ravenswoods. The setting is the Lammermuir Hills of Scotland (Lammermoor) in the 17th century. Cast & Crew: Miss Lucia - Renata Scotto Sir Edgardo Di Ravenswood - Carlo Bergonzi Lord Enrico Ashton - Mario Zanasi Lord Arturo Bucklaw - Angelo Marchiandi Raimondo Bidebent - Plinio Clabassi Alisa - Mirella Fiorentini Normanno - Giuseppe Baratti The NHK (Nippon Hoso Kyokai) Symphony Orchestra Conductor - Bruno Bartoletti Tokyo Philharmonic Chorus Chorus Master - Yoichiro Fukunaga Momoko Tani Ballet Troupe Choreographer - Goro Arima Sankikai Theatrical Company Stage Director - Bruno Nofri Scenery - Enzo Deho Costume Design - Marcello D'Ellena Recorded Live, September 1967, Tokyo Bunka Kaikan La Scala Tour in Japan 1967. Donizetti wrote Lucia di Lammermoor in 1835, when he was reaching the peak of his reputation as an opera composer. Gioachino Rossini had recently retired and Vincenzo Bellini had died shortly before the premiere of Lucia leaving Donizetti as "the sole reigning genius of Italian opera". Not only were conditions ripe for Donizetti's success as a composer, but there was also a widespread interest in the history and culture of Scotland. The perceived romance of its violent wars and feuds, as well as its folklore and mythology, intrigued 19th century readers and audiences. After World War II, a number of sopranos were instrumental in giving new life to the opera, including Maria Callas (with performances from 1954 at La Scala and Berlin in 1955 under Herbert von Karajan) and Dame Joan Sutherland (with 1959 and 1960 performances at the Royal Opera House Covent Garden). An aria from the opera, "Il dolce suono", is featured in the film The Fifth Element.

Lecture 24: Ovid's influence in later European culture—including, very prominently, the works of Shakespeare—is profound and well worth tracing. Even today, classical mythology in general remains a force in high culture and pop culture alike. The whole genre of science fiction, for example, is a testament to the power of both ancient myths and the enduring mythic impulse.

Lecture 23: Ovid's Metamorphoses is our main or only source for many famous classical myths. Who was Ovid? What was the nature of the Roman context in which he composed his very literary, ironic retelling of these myths? Can we ever hope to recover the "original" stories that lie behind Ovid's versions? Lecture 24: https://rumble.com/v4qb2xk-classical-mythology-from-ovid-to-the-stars-lecture-24.html

Lecture 22: Why did the Romans "borrow" so much of their art, literature, and myth from Greece? How and why did the Romans take over—and modify—the legend of the Trojan War? How does this reflect on the native Roman foundation myth of the brothers Romulus and Remus? Lecture 23: https://rumble.com/v4qaydz-classical-mythology-gods-are-useful-lecture-23.html

Lecture 21: Among the female figures in Greek myth who break out of women's usual roles are the Amazons, a race of female warriors said to have fought such heroes as Achilles, Theseus, and Heracles. The lecture also examines another foreign woman, Medea, who is most famous for her marriage to Jason. Finally, we will discuss the possible genesis of these figures in male anxieties about the role of women. Lecture 22: https://rumble.com/v4qauif-classical-mythology-roman-founders-roman-fables-lecture-22.html