Dan Green
21 comments
Image Credit: Tizian Just about everything imaginable has been either said or suggested about the biblical figure presented to us as Mary Magdalene. That much we can agree. The most favoured and recent of the many hypothesis is that she was the partner of the historical and biblical figurehead Jesus carrying his child and along with that the continuation of a Holy Bloodline. This Mary figure, who after the biblical account where she was the first to visit the tomb of the rising Christ, simply vanishes from record yet warrants becoming an object of character assassination by the Catholic Church and added to their tarnishing of all things female by virtue of Original Sin propaganda and inventing us the lie that she was a prostitute. This enigmatic Mary must have been a potent female in particular, an actual spiritual Teacher who had a following whose importance may well have been thought better removed in order to satisfy a preferred emphasis on a male Jesus figure to cater for the deep-seated homosexual tendencies that have now been brought to light by the exposure of systematic and covered up Catholic Church child abuse in both USA and Ireland and suspected in many other countries if not all where Catholicism is rooted. That the figure of Mary Magdalene may well have been far more important in history than we could have imagined, eclipsing that of the male Jesus storyline as it is told, may well be one of the better secrets held in relation to her and the mystery attached to Rennes-le-Chateau. Is her connection with blood – menstruation – the one thing a male church hierarchy loathed, to menstruate being ‘men’s true hate’? Was this enigmatic Mary considered such a threat that she was physically removed from accurate recordings of history that would displease the Church, preferring an emphasis on an elevated and deified male Jesus figure? This story line may be some two thousand years ago, but in that time human nature has changed little and powerful women who worry the residing male authority of the day are usually removed, Princess Diana and Benazir Bhutto being two recent examples. Could a pregnant Mary Magdalene have been demised?
I first stumbled across some unexpected evidence for this by chance. In 2005 my friend Simon Brighton, author of ‘In Search of the Knights Templar’, excitedly told me that he had heard that the cousin of his friend Terry Welbourn, author and ex-BBC correspondent Peter Clawson, had years ago been caught up in an incidental conversation with a local advising him to find his way to a strange document deposited in Grantham Library, some twenty six miles south of Lincoln, which was purportedly written by French novelist Victor Hugo, an alleged past Master of the Priory of Sion. Entitled ‘The Quest,’ it tells of a search for a lost location called Wyville, which is most peculiar as the Quest actually starts at a real hamlet called Wyville situated about five miles SW of Grantham. Over thirty pages long, this strange and spurious document echoes the equally affected ‘Secret Dossier’ involved in the Rennes mystery, deposited in the Bibliotheque Nationale de France, Paris, in 1967. Engagingly enough, Grantham Library have no records of who arrived with this document or when it was afforded their safe keeping, although it is dated 1917, the year that the priest Sauniere, who instigated the Rennes mystery, died at Rennes-le-Chateau. Wading through the convoluted twists and turns throughout the dialogue of this manuscript, the conclusion of ‘The Quest’ leads us to the vicinity and exact hill area of my very own ‘Lincoln Cathedral Code’, the liable solution to the RLC Mystery. However, we will not locate a mythical Wyville, but instead the phonetic Masonic play pun wording revealing ‘Wife Hill’, relating to the wife of Jesus, namely Mary Magdalene. There are illustrations alongside the handwritten text of the manuscript the first being that of a dagger, along with mention in the text of ‘knives with blades but not handles’. If ‘The Quest’ leads us to Mary, what is the association with a dagger? The library, encased in the Isaac Newton Centre, has a statue of Isaac facing it outside. Hugo and Newton, two Grand Masters of the Priory of Sion. What entanglement had I found myself innocently caught up in? Prior to involvement in this Wyville development, my own deductions had already led me to a location opposite Lincoln Cathedral, and then I am eventually pointed in the direction of a document that had been in place long before my birth and which tallied with my findings. Serendipity at work?
My adventures have also taken me to the overlooked gem that is Temple Bruer, the remnants of a Templar Preceptory twelve miles south of my location. It is my belief that at Bruer we find the hiding place of the ‘Sleeping Briar Rose’ (Briar= French ‘bruyere’ and West Saxon ‘braer = Bruer) illustrated in the 4th painting in a series each depicting a moment in the story of Sleeping Beauty, a cipher for the Magdalene, by Pre-Raphaelite artist Edward Burne-Jones, ‘The legend of the Briar Rose’ completed between 1885 and 1890, the very years that the priest Sauniere began his bizarre behaviours at his Rennes parish. Entitled ‘The Rose Bower’ (See title image) it shows a seemingly sleeping red haired female. However there is a clue Burne left us, either purposely or accidently, which I have decoded and present in my DVD to show that this is not the sleeping beauty, but a dead Mary Magdalene who was hidden at Bruer en-route to Lincoln Cathedral from Rennes-le-Chateau. Throughout my work I have learned that sometimes such secrets are knowingly safeguarded by secretive societies and Masons, and other times not. The fact is that the Truth will always out, as the Collective Unconscious will ensure key words, phrases and pictorial clues are perpetuated through the unwitting medium of the human agency, waiting to be spotted and gathered up like a ‘join the dots’ puzzle to preserve a true picture. Painters may unwarily paint clues on their canvass and sculptors may carve anomalies on their architecture without the knowledge that they play their part in defending Truth.
Another painting that figures in our Lincoln Cathedral Code and of the Magdalene although not presented as such, is the one within the Cathedral called ‘The Annunciation’ showing a pregnant red haired female in red garb, encapsulating the imagery of the sacred feminine, and is allegedly the Virgin Mary being told of the birth of Jesus. It was painted in 1800 by Matthew William Peters who had been a student at the Royal Academy of Art and famed for his portrayal of salacious women – as the Magdalene had wrongfully been portrayed – who quit to join the Church and became the Canon at Lincoln Cathedral. The female in the painting looks over at a monolith that resembles the marker tomb that concludes my work.
There is at least one another example of Mary Magdalene being passed off as The Virgin that I have found. A closer look at Caravaggio’s controversial canvass ‘The death of the Virgin’ from 1606, painted at a time when the assumption of the Virgin was not accepted, shows her looking far younger than the 50 or so she was supposed to be. I believe this is because, like the painting of the sacred feminine in the cathedral, she IS Mary Magdalene, who is supposed to be the grieving female in front of the ‘Virgin’ with her face covered in her hands, but the painting conceals a deliberate transposition of both women. Another indication is that Caravaggio deliberately modelled a prostitute, the title given to the Magdalene by the Church, as the Virgin. The most famous of all paintings involving the death of Mary returns us to Da Vinci’s famous ‘Last Supper’ the scene of a double cross that has been open to so many interpretations involving hidden imagery, mirror images, complex sacred geometry to name but a few. Whereby this may be so, in my own instance I choose to employ ‘Occam’s Razor’ to elect that the most simple and obvious implication is the one intended by its artist.
Accepting what many now do, we see Mary Magdalene to the left of Jesus. The traditional betrayer of Christ, Judas Iscariot, features behind Peter whom the Gnostic Gospels tells us hated Mary - Peter is making a menacing gesture along the throat level of Mary. This symbology has survived with us today and is common place in motion movie making to designate a ‘cut’, a cessation or the end of a scene and in musical recording to announce the end or abrupt ending of a take. The now famous ‘disembodied hand ‘wielding a knife in the painting is attributed by many to Peter. Doesn’t this simply suggest, as Leonardo does, that Peter, upon whom the Catholic Church was founded, has ill intent towards the Magdalene and that the offending weapon to inflict a sudden cessation is that of a knife or dagger? Is this weapon one and the same as the illustration on the Wyville document?
In 2002 an interesting development came to light in the art world and continues the theme of Leonardo attempting to convey a message. A previously unseen Da Vinci turned up in a private Swiss collection, a portrait of Mary Magdalene on a wooden panel (the Templar related artwork known as the Templecombe Head was also painted on such a panel) authenticated as being completed by him with help from one of his pupils around about 1515 shortly before his death. The painting shows Mary dressed in a red cape and holding a veil over her lower stomach. The veil is to simply tell us there is something ‘veiled’ within this painting and if, under enlargement, we take a closer look through this film at the level immediately above the crumpled red garb she holds with her left hand, we will see what can be interpreted as a stretch of scar tissue over her left lower abdomen, the same point of incision that work contained with my DVD presents by other means, the dark folds contained within the piece of cloth she grasps even resembling a dagger-like shape. In the traditional storyline we have Jesus betrayed by a figure named ‘Iscariot’ whose name actually comes from the Jewish assassins called Sicarii, known as ‘The dagger men’. Was Mary Magdalene caught up in a betrayal or double cross involving a dagger? The enduring myth is that a pregnant Magdalene gave birth to a female called Sarah. I believe there is a very real danger that a pregnant Mary did not have time to give birth to a child as she was fatally removed from the scene and the secret we have been left with is that her fatal wound was to her lower abdominal viscera, the name of her mythical daughter being contained in the word ‘viscera’ - ’vis-cera/sarah’. That my work ends opposite Lincoln Cathedral is made all the more poignant when we note that this great Gothic edifice, when seen from the air, is constructed in the shape of a Cross of Lorraine, a Templar’s emblem, which is also known as the ‘double dagger’ and ‘double cross’, and is also a symbol for poison, alchemists once using the icon on bottles containing poisonous substances. Roget’s Thesaurus providing synonyms for the word poison, include both the words ‘kill’ and ‘murder’.
Maybe my usage of Occam’s Razor, another sharp metal instrument, is both an ironic and an unfortunate idiom. There is, however, an even more startling and unexpected addition to this secret, the secret that Mary Magdalene was murdered and that, consequently there is no bloodline, the latter appearing to be a contrivance for eventually hoped for attempted Pan-European political purposes, personal esteem and gain. The question to ask - Who did kill Mary and why? The culprit and reason will astound you. For that definitive conclusion and revelation which I am confident I now know, you will have to wait a while. First, in belated respect, let us mourn for both Magdalene and her child.
http://ellisctaylor.com/cjmurderofmarymagdalene.html[!gad]Just about everything imaginable has been either said or suggested about the biblical figure presented to us as Mary Magdalene. That much we can agree. The most favoured and recent of the many hypothesis is that she was the partner of the historical and biblical figurehead Jesus carrying his child and along with that the continuation of a Holy Bloodline. This Mary figure, who after the biblical account where she was the first to visit the tomb of the rising Christ, simply vanishes from record yet warrants becoming an object of character assassination by the Catholic Church and added to their tarnishing of all things female by virtue of Original Sin propaganda and inventing us the lie that she was a prostitute. This enigmatic Mary must have been a potent female in particular, an actual spiritual Teacher who had a following whose importance may well have been thought better removed in order to satisfy a preferred emphasis on a male Jesus figure to cater for the deep-seated homosexual tendencies that have now been brought to light by the exposure of systematic and covered up Catholic Church child abuse in both USA and Ireland and suspected in many other countries if not all where Catholicism is rooted. That the figure of Mary Magdalene may well have been far more important in history than we could have imagined, eclipsing that of the male Jesus storyline as it is told, may well be one of the better secrets held in relation to her and the mystery attached to Rennes-le-Chateau. Is her connection with blood – menstruation – the one thing a male church hierarchy loathed, to menstruate being ‘men’s true hate’? Was this enigmatic Mary considered such a threat that she was physically removed from accurate recordings of history that would displease the Church, preferring an emphasis on an elevated and deified male Jesus figure? This story line may be some two thousand years ago, but in that time human nature has changed little and powerful women who worry the residing male authority of the day are usually removed, Princess Diana and Benazir Bhutto being two recent examples. Could a pregnant Mary Magdalene have been demised?
I first stumbled across some unexpected evidence for this by chance. In 2005 my friend Simon Brighton, author of ‘In Search of the Knights Templar’, excitedly told me that he had heard that the cousin of his friend Terry Welbourn, author and ex-BBC correspondent Peter Clawson, had years ago been caught up in an incidental conversation with a local advising him to find his way to a strange document deposited in Grantham Library, some twenty six miles south of Lincoln, which was purportedly written by French novelist Victor Hugo, an alleged past Master of the Priory of Sion. Entitled ‘The Quest,’ it tells of a search for a lost location called Wyville, which is most peculiar as the Quest actually starts at a real hamlet called Wyville situated about five miles SW of Grantham. Over thirty pages long, this strange and spurious document echoes the equally affected ‘Secret Dossier’ involved in the Rennes mystery, deposited in the Bibliotheque Nationale de France, Paris, in 1967. Engagingly enough, Grantham Library have no records of who arrived with this document or when it was afforded their safe keeping, although it is dated 1917, the year that the priest Sauniere, who instigated the Rennes mystery, died at Rennes-le-Chateau. Wading through the convoluted twists and turns throughout the dialogue of this manuscript, the conclusion of ‘The Quest’ leads us to the vicinity and exact hill area of my very own ‘Lincoln Cathedral Code’, the liable solution to the RLC Mystery. However, we will not locate a mythical Wyville, but instead the phonetic Masonic play pun wording revealing ‘Wife Hill’, relating to the wife of Jesus, namely Mary Magdalene. There are illustrations alongside the handwritten text of the manuscript the first being that of a dagger, along with mention in the text of ‘knives with blades but not handles’. If ‘The Quest’ leads us to Mary, what is the association with a dagger? The library, encased in the Isaac Newton Centre, has a statue of Isaac facing it outside. Hugo and Newton, two Grand Masters of the Priory of Sion. What entanglement had I found myself innocently caught up in? Prior to involvement in this Wyville development, my own deductions had already led me to a location opposite Lincoln Cathedral, and then I am eventually pointed in the direction of a document that had been in place long before my birth and which tallied with my findings. Serendipity at work?
My adventures have also taken me to the overlooked gem that is Temple Bruer, the remnants of a Templar Preceptory twelve miles south of my location. It is my belief that at Bruer we find the hiding place of the ‘Sleeping Briar Rose’ (Briar= French ‘bruyere’ and West Saxon ‘braer = Bruer) illustrated in the 4th painting in a series each depicting a moment in the story of Sleeping Beauty, a cipher for the Magdalene, by Pre-Raphaelite artist Edward Burne-Jones, ‘The legend of the Briar Rose’ completed between 1885 and 1890, the very years that the priest Sauniere began his bizarre behaviours at his Rennes parish. Entitled ‘The Rose Bower’ (See title image) it shows a seemingly sleeping red haired female. However there is a clue Burne left us, either purposely or accidently, which I have decoded and present in my DVD to show that this is not the sleeping beauty, but a dead Mary Magdalene who was hidden at Bruer en-route to Lincoln Cathedral from Rennes-le-Chateau. Throughout my work I have learned that sometimes such secrets are knowingly safeguarded by secretive societies and Masons, and other times not. The fact is that the Truth will always out, as the Collective Unconscious will ensure key words, phrases and pictorial clues are perpetuated through the unwitting medium of the human agency, waiting to be spotted and gathered up like a ‘join the dots’ puzzle to preserve a true picture. Painters may unwarily paint clues on their canvass and sculptors may carve anomalies on their architecture without the knowledge that they play their part in defending Truth.
Another painting that figures in our Lincoln Cathedral Code and of the Magdalene although not presented as such, is the one within the Cathedral called ‘The Annunciation’ showing a pregnant red haired female in red garb, encapsulating the imagery of the sacred feminine, and is allegedly the Virgin Mary being told of the birth of Jesus. It was painted in 1800 by Matthew William Peters who had been a student at the Royal Academy of Art and famed for his portrayal of salacious women – as the Magdalene had wrongfully been portrayed – who quit to join the Church and became the Canon at Lincoln Cathedral. The female in the painting looks over at a monolith that resembles the marker tomb that concludes my work.
There is at least one another example of Mary Magdalene being passed off as The Virgin that I have found. A closer look at Caravaggio’s controversial canvass ‘The death of the Virgin’ from 1606, painted at a time when the assumption of the Virgin was not accepted, shows her looking far younger than the 50 or so she was supposed to be. I believe this is because, like the painting of the sacred feminine in the cathedral, she IS Mary Magdalene, who is supposed to be the grieving female in front of the ‘Virgin’ with her face covered in her hands, but the painting conceals a deliberate transposition of both women. Another indication is that Caravaggio deliberately modelled a prostitute, the title given to the Magdalene by the Church, as the Virgin. The most famous of all paintings involving the death of Mary returns us to Da Vinci’s famous ‘Last Supper’ the scene of a double cross that has been open to so many interpretations involving hidden imagery, mirror images, complex sacred geometry to name but a few. Whereby this may be so, in my own instance I choose to employ ‘Occam’s Razor’ to elect that the most simple and obvious implication is the one intended by its artist.
Accepting what many now do, we see Mary Magdalene to the left of Jesus. The traditional betrayer of Christ, Judas Iscariot, features behind Peter whom the Gnostic Gospels tells us hated Mary - Peter is making a menacing gesture along the throat level of Mary. This symbology has survived with us today and is common place in motion movie making to designate a ‘cut’, a cessation or the end of a scene and in musical recording to announce the end or abrupt ending of a take. The now famous ‘disembodied hand ‘wielding a knife in the painting is attributed by many to Peter. Doesn’t this simply suggest, as Leonardo does, that Peter, upon whom the Catholic Church was founded, has ill intent towards the Magdalene and that the offending weapon to inflict a sudden cessation is that of a knife or dagger? Is this weapon one and the same as the illustration on the Wyville document?
In 2002 an interesting development came to light in the art world and continues the theme of Leonardo attempting to convey a message. A previously unseen Da Vinci turned up in a private Swiss collection, a portrait of Mary Magdalene on a wooden panel (the Templar related artwork known as the Templecombe Head was also painted on such a panel) authenticated as being completed by him with help from one of his pupils around about 1515 shortly before his death. The painting shows Mary dressed in a red cape and holding a veil over her lower stomach. The veil is to simply tell us there is something ‘veiled’ within this painting and if, under enlargement, we take a closer look through this film at the level immediately above the crumpled red garb she holds with her left hand, we will see what can be interpreted as a stretch of scar tissue over her left lower abdomen, the same point of incision that work contained with my DVD presents by other means, the dark folds contained within the piece of cloth she grasps even resembling a dagger-like shape. In the traditional storyline we have Jesus betrayed by a figure named ‘Iscariot’ whose name actually comes from the Jewish assassins called Sicarii, known as ‘The dagger men’. Was Mary Magdalene caught up in a betrayal or double cross involving a dagger? The enduring myth is that a pregnant Magdalene gave birth to a female called Sarah. I believe there is a very real danger that a pregnant Mary did not have time to give birth to a child as she was fatally removed from the scene and the secret we have been left with is that her fatal wound was to her lower abdominal viscera, the name of her mythical daughter being contained in the word ‘viscera’ - ’vis-cera/sarah’. That my work ends opposite Lincoln Cathedral is made all the more poignant when we note that this great Gothic edifice, when seen from the air, is constructed in the shape of a Cross of Lorraine, a Templar’s emblem, which is also known as the ‘double dagger’ and ‘double cross’, and is also a symbol for poison, alchemists once using the icon on bottles containing poisonous substances. Roget’s Thesaurus providing synonyms for the word poison, include both the words ‘kill’ and ‘murder’.
Maybe my usage of Occam’s Razor, another sharp metal instrument, is both an ironic and an unfortunate idiom. There is, however, an even more startling and unexpected addition to this secret, the secret that Mary Magdalene was murdered and that, consequently there is no bloodline, the latter appearing to be a contrivance for eventually hoped for attempted Pan-European political purposes, personal esteem and gain. The question to ask - Who did kill Mary and why? The culprit and reason will astound you. For that definitive conclusion and revelation which I am confident I now know, you will have to wait a while. First, in belated respect, let us mourn for both Magdalene and her child.
http://ellisctaylor.com/cjmurderofmarymagdalene.html
Dan's book, "The Murder of Mary Magdalene -Synchronicity and the Scarlet Saint" is available now at Amazon:
http://www.amazon.co.uk/The-Murder-Mary-Magdalene-Synchronicity/dp/1907126147/
His new book, "Activation Code Earth", is available to download as a free ebook from http://www.dangreencodex.co.uk/ Comments (21)
The murder of Mary Magdalene
February 16, 2010 | 21 comments
Image Credit: Tizian Just about everything imaginable has been either said or suggested about the biblical figure presented to us as Mary Magdalene. That much we can agree. The most favoured and recent of the many hypothesis is that she was the partner of the historical and biblical figurehead Jesus carrying his child and along with that the continuation of a Holy Bloodline. This Mary figure, who after the biblical account where she was the first to visit the tomb of the rising Christ, simply vanishes from record yet warrants becoming an object of character assassination by the Catholic Church and added to their tarnishing of all things female by virtue of Original Sin propaganda and inventing us the lie that she was a prostitute. This enigmatic Mary must have been a potent female in particular, an actual spiritual Teacher who had a following whose importance may well have been thought better removed in order to satisfy a preferred emphasis on a male Jesus figure to cater for the deep-seated homosexual tendencies that have now been brought to light by the exposure of systematic and covered up Catholic Church child abuse in both USA and Ireland and suspected in many other countries if not all where Catholicism is rooted. That the figure of Mary Magdalene may well have been far more important in history than we could have imagined, eclipsing that of the male Jesus storyline as it is told, may well be one of the better secrets held in relation to her and the mystery attached to Rennes-le-Chateau. Is her connection with blood – menstruation – the one thing a male church hierarchy loathed, to menstruate being ‘men’s true hate’? Was this enigmatic Mary considered such a threat that she was physically removed from accurate recordings of history that would displease the Church, preferring an emphasis on an elevated and deified male Jesus figure? This story line may be some two thousand years ago, but in that time human nature has changed little and powerful women who worry the residing male authority of the day are usually removed, Princess Diana and Benazir Bhutto being two recent examples. Could a pregnant Mary Magdalene have been demised?
I first stumbled across some unexpected evidence for this by chance. In 2005 my friend Simon Brighton, author of ‘In Search of the Knights Templar’, excitedly told me that he had heard that the cousin of his friend Terry Welbourn, author and ex-BBC correspondent Peter Clawson, had years ago been caught up in an incidental conversation with a local advising him to find his way to a strange document deposited in Grantham Library, some twenty six miles south of Lincoln, which was purportedly written by French novelist Victor Hugo, an alleged past Master of the Priory of Sion. Entitled ‘The Quest,’ it tells of a search for a lost location called Wyville, which is most peculiar as the Quest actually starts at a real hamlet called Wyville situated about five miles SW of Grantham. Over thirty pages long, this strange and spurious document echoes the equally affected ‘Secret Dossier’ involved in the Rennes mystery, deposited in the Bibliotheque Nationale de France, Paris, in 1967. Engagingly enough, Grantham Library have no records of who arrived with this document or when it was afforded their safe keeping, although it is dated 1917, the year that the priest Sauniere, who instigated the Rennes mystery, died at Rennes-le-Chateau. Wading through the convoluted twists and turns throughout the dialogue of this manuscript, the conclusion of ‘The Quest’ leads us to the vicinity and exact hill area of my very own ‘Lincoln Cathedral Code’, the liable solution to the RLC Mystery. However, we will not locate a mythical Wyville, but instead the phonetic Masonic play pun wording revealing ‘Wife Hill’, relating to the wife of Jesus, namely Mary Magdalene. There are illustrations alongside the handwritten text of the manuscript the first being that of a dagger, along with mention in the text of ‘knives with blades but not handles’. If ‘The Quest’ leads us to Mary, what is the association with a dagger? The library, encased in the Isaac Newton Centre, has a statue of Isaac facing it outside. Hugo and Newton, two Grand Masters of the Priory of Sion. What entanglement had I found myself innocently caught up in? Prior to involvement in this Wyville development, my own deductions had already led me to a location opposite Lincoln Cathedral, and then I am eventually pointed in the direction of a document that had been in place long before my birth and which tallied with my findings. Serendipity at work?
My adventures have also taken me to the overlooked gem that is Temple Bruer, the remnants of a Templar Preceptory twelve miles south of my location. It is my belief that at Bruer we find the hiding place of the ‘Sleeping Briar Rose’ (Briar= French ‘bruyere’ and West Saxon ‘braer = Bruer) illustrated in the 4th painting in a series each depicting a moment in the story of Sleeping Beauty, a cipher for the Magdalene, by Pre-Raphaelite artist Edward Burne-Jones, ‘The legend of the Briar Rose’ completed between 1885 and 1890, the very years that the priest Sauniere began his bizarre behaviours at his Rennes parish. Entitled ‘The Rose Bower’ (See title image) it shows a seemingly sleeping red haired female. However there is a clue Burne left us, either purposely or accidently, which I have decoded and present in my DVD to show that this is not the sleeping beauty, but a dead Mary Magdalene who was hidden at Bruer en-route to Lincoln Cathedral from Rennes-le-Chateau. Throughout my work I have learned that sometimes such secrets are knowingly safeguarded by secretive societies and Masons, and other times not. The fact is that the Truth will always out, as the Collective Unconscious will ensure key words, phrases and pictorial clues are perpetuated through the unwitting medium of the human agency, waiting to be spotted and gathered up like a ‘join the dots’ puzzle to preserve a true picture. Painters may unwarily paint clues on their canvass and sculptors may carve anomalies on their architecture without the knowledge that they play their part in defending Truth.
Another painting that figures in our Lincoln Cathedral Code and of the Magdalene although not presented as such, is the one within the Cathedral called ‘The Annunciation’ showing a pregnant red haired female in red garb, encapsulating the imagery of the sacred feminine, and is allegedly the Virgin Mary being told of the birth of Jesus. It was painted in 1800 by Matthew William Peters who had been a student at the Royal Academy of Art and famed for his portrayal of salacious women – as the Magdalene had wrongfully been portrayed – who quit to join the Church and became the Canon at Lincoln Cathedral. The female in the painting looks over at a monolith that resembles the marker tomb that concludes my work.
There is at least one another example of Mary Magdalene being passed off as The Virgin that I have found. A closer look at Caravaggio’s controversial canvass ‘The death of the Virgin’ from 1606, painted at a time when the assumption of the Virgin was not accepted, shows her looking far younger than the 50 or so she was supposed to be. I believe this is because, like the painting of the sacred feminine in the cathedral, she IS Mary Magdalene, who is supposed to be the grieving female in front of the ‘Virgin’ with her face covered in her hands, but the painting conceals a deliberate transposition of both women. Another indication is that Caravaggio deliberately modelled a prostitute, the title given to the Magdalene by the Church, as the Virgin. The most famous of all paintings involving the death of Mary returns us to Da Vinci’s famous ‘Last Supper’ the scene of a double cross that has been open to so many interpretations involving hidden imagery, mirror images, complex sacred geometry to name but a few. Whereby this may be so, in my own instance I choose to employ ‘Occam’s Razor’ to elect that the most simple and obvious implication is the one intended by its artist.
Accepting what many now do, we see Mary Magdalene to the left of Jesus. The traditional betrayer of Christ, Judas Iscariot, features behind Peter whom the Gnostic Gospels tells us hated Mary - Peter is making a menacing gesture along the throat level of Mary. This symbology has survived with us today and is common place in motion movie making to designate a ‘cut’, a cessation or the end of a scene and in musical recording to announce the end or abrupt ending of a take. The now famous ‘disembodied hand ‘wielding a knife in the painting is attributed by many to Peter. Doesn’t this simply suggest, as Leonardo does, that Peter, upon whom the Catholic Church was founded, has ill intent towards the Magdalene and that the offending weapon to inflict a sudden cessation is that of a knife or dagger? Is this weapon one and the same as the illustration on the Wyville document?
In 2002 an interesting development came to light in the art world and continues the theme of Leonardo attempting to convey a message. A previously unseen Da Vinci turned up in a private Swiss collection, a portrait of Mary Magdalene on a wooden panel (the Templar related artwork known as the Templecombe Head was also painted on such a panel) authenticated as being completed by him with help from one of his pupils around about 1515 shortly before his death. The painting shows Mary dressed in a red cape and holding a veil over her lower stomach. The veil is to simply tell us there is something ‘veiled’ within this painting and if, under enlargement, we take a closer look through this film at the level immediately above the crumpled red garb she holds with her left hand, we will see what can be interpreted as a stretch of scar tissue over her left lower abdomen, the same point of incision that work contained with my DVD presents by other means, the dark folds contained within the piece of cloth she grasps even resembling a dagger-like shape. In the traditional storyline we have Jesus betrayed by a figure named ‘Iscariot’ whose name actually comes from the Jewish assassins called Sicarii, known as ‘The dagger men’. Was Mary Magdalene caught up in a betrayal or double cross involving a dagger? The enduring myth is that a pregnant Magdalene gave birth to a female called Sarah. I believe there is a very real danger that a pregnant Mary did not have time to give birth to a child as she was fatally removed from the scene and the secret we have been left with is that her fatal wound was to her lower abdominal viscera, the name of her mythical daughter being contained in the word ‘viscera’ - ’vis-cera/sarah’. That my work ends opposite Lincoln Cathedral is made all the more poignant when we note that this great Gothic edifice, when seen from the air, is constructed in the shape of a Cross of Lorraine, a Templar’s emblem, which is also known as the ‘double dagger’ and ‘double cross’, and is also a symbol for poison, alchemists once using the icon on bottles containing poisonous substances. Roget’s Thesaurus providing synonyms for the word poison, include both the words ‘kill’ and ‘murder’.
Maybe my usage of Occam’s Razor, another sharp metal instrument, is both an ironic and an unfortunate idiom. There is, however, an even more startling and unexpected addition to this secret, the secret that Mary Magdalene was murdered and that, consequently there is no bloodline, the latter appearing to be a contrivance for eventually hoped for attempted Pan-European political purposes, personal esteem and gain. The question to ask - Who did kill Mary and why? The culprit and reason will astound you. For that definitive conclusion and revelation which I am confident I now know, you will have to wait a while. First, in belated respect, let us mourn for both Magdalene and her child.
http://ellisctaylor.com/cjmurderofmarymagdalene.html[!gad]Just about everything imaginable has been either said or suggested about the biblical figure presented to us as Mary Magdalene. That much we can agree. The most favoured and recent of the many hypothesis is that she was the partner of the historical and biblical figurehead Jesus carrying his child and along with that the continuation of a Holy Bloodline. This Mary figure, who after the biblical account where she was the first to visit the tomb of the rising Christ, simply vanishes from record yet warrants becoming an object of character assassination by the Catholic Church and added to their tarnishing of all things female by virtue of Original Sin propaganda and inventing us the lie that she was a prostitute. This enigmatic Mary must have been a potent female in particular, an actual spiritual Teacher who had a following whose importance may well have been thought better removed in order to satisfy a preferred emphasis on a male Jesus figure to cater for the deep-seated homosexual tendencies that have now been brought to light by the exposure of systematic and covered up Catholic Church child abuse in both USA and Ireland and suspected in many other countries if not all where Catholicism is rooted. That the figure of Mary Magdalene may well have been far more important in history than we could have imagined, eclipsing that of the male Jesus storyline as it is told, may well be one of the better secrets held in relation to her and the mystery attached to Rennes-le-Chateau. Is her connection with blood – menstruation – the one thing a male church hierarchy loathed, to menstruate being ‘men’s true hate’? Was this enigmatic Mary considered such a threat that she was physically removed from accurate recordings of history that would displease the Church, preferring an emphasis on an elevated and deified male Jesus figure? This story line may be some two thousand years ago, but in that time human nature has changed little and powerful women who worry the residing male authority of the day are usually removed, Princess Diana and Benazir Bhutto being two recent examples. Could a pregnant Mary Magdalene have been demised?
I first stumbled across some unexpected evidence for this by chance. In 2005 my friend Simon Brighton, author of ‘In Search of the Knights Templar’, excitedly told me that he had heard that the cousin of his friend Terry Welbourn, author and ex-BBC correspondent Peter Clawson, had years ago been caught up in an incidental conversation with a local advising him to find his way to a strange document deposited in Grantham Library, some twenty six miles south of Lincoln, which was purportedly written by French novelist Victor Hugo, an alleged past Master of the Priory of Sion. Entitled ‘The Quest,’ it tells of a search for a lost location called Wyville, which is most peculiar as the Quest actually starts at a real hamlet called Wyville situated about five miles SW of Grantham. Over thirty pages long, this strange and spurious document echoes the equally affected ‘Secret Dossier’ involved in the Rennes mystery, deposited in the Bibliotheque Nationale de France, Paris, in 1967. Engagingly enough, Grantham Library have no records of who arrived with this document or when it was afforded their safe keeping, although it is dated 1917, the year that the priest Sauniere, who instigated the Rennes mystery, died at Rennes-le-Chateau. Wading through the convoluted twists and turns throughout the dialogue of this manuscript, the conclusion of ‘The Quest’ leads us to the vicinity and exact hill area of my very own ‘Lincoln Cathedral Code’, the liable solution to the RLC Mystery. However, we will not locate a mythical Wyville, but instead the phonetic Masonic play pun wording revealing ‘Wife Hill’, relating to the wife of Jesus, namely Mary Magdalene. There are illustrations alongside the handwritten text of the manuscript the first being that of a dagger, along with mention in the text of ‘knives with blades but not handles’. If ‘The Quest’ leads us to Mary, what is the association with a dagger? The library, encased in the Isaac Newton Centre, has a statue of Isaac facing it outside. Hugo and Newton, two Grand Masters of the Priory of Sion. What entanglement had I found myself innocently caught up in? Prior to involvement in this Wyville development, my own deductions had already led me to a location opposite Lincoln Cathedral, and then I am eventually pointed in the direction of a document that had been in place long before my birth and which tallied with my findings. Serendipity at work?
My adventures have also taken me to the overlooked gem that is Temple Bruer, the remnants of a Templar Preceptory twelve miles south of my location. It is my belief that at Bruer we find the hiding place of the ‘Sleeping Briar Rose’ (Briar= French ‘bruyere’ and West Saxon ‘braer = Bruer) illustrated in the 4th painting in a series each depicting a moment in the story of Sleeping Beauty, a cipher for the Magdalene, by Pre-Raphaelite artist Edward Burne-Jones, ‘The legend of the Briar Rose’ completed between 1885 and 1890, the very years that the priest Sauniere began his bizarre behaviours at his Rennes parish. Entitled ‘The Rose Bower’ (See title image) it shows a seemingly sleeping red haired female. However there is a clue Burne left us, either purposely or accidently, which I have decoded and present in my DVD to show that this is not the sleeping beauty, but a dead Mary Magdalene who was hidden at Bruer en-route to Lincoln Cathedral from Rennes-le-Chateau. Throughout my work I have learned that sometimes such secrets are knowingly safeguarded by secretive societies and Masons, and other times not. The fact is that the Truth will always out, as the Collective Unconscious will ensure key words, phrases and pictorial clues are perpetuated through the unwitting medium of the human agency, waiting to be spotted and gathered up like a ‘join the dots’ puzzle to preserve a true picture. Painters may unwarily paint clues on their canvass and sculptors may carve anomalies on their architecture without the knowledge that they play their part in defending Truth.
Another painting that figures in our Lincoln Cathedral Code and of the Magdalene although not presented as such, is the one within the Cathedral called ‘The Annunciation’ showing a pregnant red haired female in red garb, encapsulating the imagery of the sacred feminine, and is allegedly the Virgin Mary being told of the birth of Jesus. It was painted in 1800 by Matthew William Peters who had been a student at the Royal Academy of Art and famed for his portrayal of salacious women – as the Magdalene had wrongfully been portrayed – who quit to join the Church and became the Canon at Lincoln Cathedral. The female in the painting looks over at a monolith that resembles the marker tomb that concludes my work.
There is at least one another example of Mary Magdalene being passed off as The Virgin that I have found. A closer look at Caravaggio’s controversial canvass ‘The death of the Virgin’ from 1606, painted at a time when the assumption of the Virgin was not accepted, shows her looking far younger than the 50 or so she was supposed to be. I believe this is because, like the painting of the sacred feminine in the cathedral, she IS Mary Magdalene, who is supposed to be the grieving female in front of the ‘Virgin’ with her face covered in her hands, but the painting conceals a deliberate transposition of both women. Another indication is that Caravaggio deliberately modelled a prostitute, the title given to the Magdalene by the Church, as the Virgin. The most famous of all paintings involving the death of Mary returns us to Da Vinci’s famous ‘Last Supper’ the scene of a double cross that has been open to so many interpretations involving hidden imagery, mirror images, complex sacred geometry to name but a few. Whereby this may be so, in my own instance I choose to employ ‘Occam’s Razor’ to elect that the most simple and obvious implication is the one intended by its artist.
Accepting what many now do, we see Mary Magdalene to the left of Jesus. The traditional betrayer of Christ, Judas Iscariot, features behind Peter whom the Gnostic Gospels tells us hated Mary - Peter is making a menacing gesture along the throat level of Mary. This symbology has survived with us today and is common place in motion movie making to designate a ‘cut’, a cessation or the end of a scene and in musical recording to announce the end or abrupt ending of a take. The now famous ‘disembodied hand ‘wielding a knife in the painting is attributed by many to Peter. Doesn’t this simply suggest, as Leonardo does, that Peter, upon whom the Catholic Church was founded, has ill intent towards the Magdalene and that the offending weapon to inflict a sudden cessation is that of a knife or dagger? Is this weapon one and the same as the illustration on the Wyville document?
In 2002 an interesting development came to light in the art world and continues the theme of Leonardo attempting to convey a message. A previously unseen Da Vinci turned up in a private Swiss collection, a portrait of Mary Magdalene on a wooden panel (the Templar related artwork known as the Templecombe Head was also painted on such a panel) authenticated as being completed by him with help from one of his pupils around about 1515 shortly before his death. The painting shows Mary dressed in a red cape and holding a veil over her lower stomach. The veil is to simply tell us there is something ‘veiled’ within this painting and if, under enlargement, we take a closer look through this film at the level immediately above the crumpled red garb she holds with her left hand, we will see what can be interpreted as a stretch of scar tissue over her left lower abdomen, the same point of incision that work contained with my DVD presents by other means, the dark folds contained within the piece of cloth she grasps even resembling a dagger-like shape. In the traditional storyline we have Jesus betrayed by a figure named ‘Iscariot’ whose name actually comes from the Jewish assassins called Sicarii, known as ‘The dagger men’. Was Mary Magdalene caught up in a betrayal or double cross involving a dagger? The enduring myth is that a pregnant Magdalene gave birth to a female called Sarah. I believe there is a very real danger that a pregnant Mary did not have time to give birth to a child as she was fatally removed from the scene and the secret we have been left with is that her fatal wound was to her lower abdominal viscera, the name of her mythical daughter being contained in the word ‘viscera’ - ’vis-cera/sarah’. That my work ends opposite Lincoln Cathedral is made all the more poignant when we note that this great Gothic edifice, when seen from the air, is constructed in the shape of a Cross of Lorraine, a Templar’s emblem, which is also known as the ‘double dagger’ and ‘double cross’, and is also a symbol for poison, alchemists once using the icon on bottles containing poisonous substances. Roget’s Thesaurus providing synonyms for the word poison, include both the words ‘kill’ and ‘murder’.
Maybe my usage of Occam’s Razor, another sharp metal instrument, is both an ironic and an unfortunate idiom. There is, however, an even more startling and unexpected addition to this secret, the secret that Mary Magdalene was murdered and that, consequently there is no bloodline, the latter appearing to be a contrivance for eventually hoped for attempted Pan-European political purposes, personal esteem and gain. The question to ask - Who did kill Mary and why? The culprit and reason will astound you. For that definitive conclusion and revelation which I am confident I now know, you will have to wait a while. First, in belated respect, let us mourn for both Magdalene and her child.
http://ellisctaylor.com/cjmurderofmarymagdalene.html
Dan's book, "The Murder of Mary Magdalene -Synchronicity and the Scarlet Saint" is available now at Amazon:
http://www.amazon.co.uk/The-Murder-Mary-Magdalene-Synchronicity/dp/1907126147/
His new book, "Activation Code Earth", is available to download as a free ebook from http://www.dangreencodex.co.uk/ Comments (21)
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