Sunday, June 06, 2010



We are living in the age of revelations regarding the women and their connection to God that religions have kept most people in ignorance. In 2005, I published Secrets of the Magdalene Scrolls, which is based on my research of Mary Magdalene, the wife of Jesus. I chose to write this as fiction because I felt that as a non-fiction book it would be ridiculed. After the publication of my book, I have continued to research and to bring forth information showing how women have long been omitted from history.

The latest are revelations regarding the anatomy Michelangelo painted in his frescoes in the Sistine Chapel ceiling. Dr. Douglas Fields has posted an article on Internet titled, Michelangelo's Secret Message in the Sistine Chapel. I take issue with Dr. Fields' article and the following is a broader interpretation of Michelangelo's secret messages encoded in his frescoes.

Michelangelo is known for his studies in anatomy and for cutting up cadavers in order to study them. The results are encrypted throughout his frescoes in the Sistine Chapel. One of his most famous frescoes is labeled Creation of Adam. Dr. Frank Lynn Meshberger 's publication in the Journal of the American Medical Association 1990, interpreted this fresco using neuroanatomy with results that for hundreds of years has been the unobvious obvious.

Meshberger realized that behind God is an image of the brain that is anatomically accurate. In looking closely at this image of God reaching out to Adam, I have observed that the small figures behind God and below are both female and male representing different parts of the brain. I also noticed that God has female breasts. Some will call this heresy; however, when one has a belief program that God is male - then the female aspect is not noticed because the human mind has been programmed to accept God as a male in most religions.

Michelangelo left a code in his paintings, which are seen by thousands and few have recognized the message. Dr. Fields in his article uses the conclusions that I. Suk and R.J. Tamargo reached when they published their findings in Neurosurgery 66, 851-861 about the fresco panel The Separation of Light from Darkness. I differ from their conclusions even though I do not have a scientific background. However, I have studied the brain and I do know something about the anatomy of the body. I saw the unobvious obvious.

Whereas Suk and Tamargo allege according to Fields that "God has a 'hideous goiter-disfigured neck' and that a 'roll of fabric' extends up the center of God's robe in a peculiar manner. The clothing is bunched up here as is seen nowhere else, and the fold clashes with what would be the natural drape of fabric over God's torso. In fact, they observe, it is the human spinal cord, ascending to the brain stem in God's neck. At God's waist, the robe twists again in a peculiar crumpled manner, revealing the optic nerves from two eyes…"

What is revealed to me from looking at a picture of The Separation of Light from Darkness is that God definitely has female breasts instead of optic nerves from two eyes. If one looks at the enhanced photo of God, it is quite apparent that there is a prominent nipple on God's left side of the breast. In addition, the drape of fabric over God's body is not 'bunched." It is draped in folds that could represent the shape of a uterus – a feminine uterus or a uterine mantle as an unknown art historian supposedly said. It is my understanding that the uterus is part of the female anatomy.

From my observations and research of these beautiful paintings, Michelangelo's hidden messages are that God is both female and male. Dr. Fields goes to write in his article, "The mystery is whether these neuroanatomical features are hidden messages or is the Sistine Chapel a Rorschach test upon which anyone can extract an image that is meaningful to themselves. The authors of the paper are, after all, neuroanatomists." It is unfortunate that Dr. Fields is so short-sighted; however, perhaps the writers Sak and Tamargo as well as Fields are seeing it as a Rorschach.
Michelangelo and Da Vinci were contemporaries and both were well versed in the anatomies of both female and male. There is a drawing of DaVinci done in 1489 titled Study of a Woman's Womb and the drawing of the Vitruvius Male dated also as 1489, has been mis-interpreted. The drawing shows four arms and four legs. One set of arms and legs has a male aspect and the second set of arms and legs has a female aspect. Another aspect is that the Vitruvius drawing has female breasts and male genitals. Da Vinci knew the same as Michelangelo that God is both female and male and these drawings and paintings are their hidden codes for the people to finally decipher. It is unfortunate that Fields was not far-sighted enough to recognize the clues himself.

God as a woman? For hundreds of years, the Christian, Muslim and Hindu religions have portrayed God/Allah as male and a male who has dominion over women. Women have been degraded and subjected to horrendous treatments. I find it ironic that women carry the baby in her womb, and yet rarely is she given equal treatment in the Christian and Islamic sects. I have often wondered how males can degrade their mothers who perhaps nursed them and cared for them when they were sick.
I find it most fascinating to read that some scholars are suggesting that da Vinci painted himself as a woman. They really have not quite verbalized that da Vinci could have been a woman. When I first published the first edition of Secrets of the Magdalene Scrolls in 2004, I wrote of this and give Lillian Schwartz and Dr. Digby Quested as my authority in a footnote on page 176. The following is what I learned from my research.

The morphing of Leonardo to Mona Lisa began in 1987 by a computer expert who at that time was a consultant for AT&T's Bell Laboratories. Using a computer, Lillian Schwartz split the faces of the Mona Lisa and Leonardo's self-portrait down the middle. Schwartz adjusted the sizes and juxtaposed them so that one side of Mona Lisa's face matched Leonardo's. Schwartz has recorded the evolution of the split-face from a study in composition to a convincing argument that the Mona Lisa is Leonardo's self-portrait.

From the Hindu Newspaper, January 1, 2000, an article by Jayasree Sarnathan wrote: "computer imaging and x-ray analysis declare that Mona Lisa was not a woman at all! The American computer artist Lillian Schwartz and London Maudsley Hospital registrar, Dr. Digby Quested, believe that Mona Lisa was a mirror image of Leonardo da Vinci." It is possible that Leonardo chose to live as a man because during those ages, she would have been put to death or not able to use her genius to create. The same can also be said for Michelangelo. Perhaps he also was a woman dressed as a man.

There is also historical evidence that there was a female pope – Pope Joan. In my book, I wrote of Pope Joan, the first female pope. There is now a movie based on her life as a woman who disguised herself as a man. Thus, we have the porphyry chair and a copy of it is in the Louvre Museum. Throughout my research, I have found that the common interpretations are often not what they have been purported to be. Many will call Pope Joan a myth, however up until 1276 AD, she was acknowledged by the Catholic Church. She was born in 814 Ad in Ingelheim, Germany and supposedly travelled to Greece and wanted to be part of the Church hierarchy and disguised herself as a man. I have also described this in my book Secrets of the Magdalene Scrolls. It is time for the truth to be revealed that has been omitted from history.