The Vaticinia Michaelis Nostradami de Futuri Christi Vicarii ad Cesarem Filium (prophecies of Michel Nostradamus on the Future Vicars of Christ to Cesar his son), in short, Vaticinia Nostradami, (Prophesies of Nostradamus) is a collection of eighty watercolor images compiled as an illustrated codex. It was discovered in 1982 by the Italian journalists Enza Massa and Roberto Pinotti [1]in the Biblioteca Nazionale Centrale di Roma (Central National Library) in Rome, Italy. The document can be found in the library under the title, "Fondo Vittorio Emanuele 307".
Origins
A library card, filled out by Carthusian [2] fathers, that was attached to the manuscript states that the images belonged to the French seer Nostradamus[3] (1503-1566). This card indicates that the codex was brought to Rome by Nostradamus' son César de Nostredame in order to be donated to cardinal Maffeo Barberini, who would later become Pope Urban VIII (1623-1644).
Style
Plate 18.
The images are similar to several manuscripts of the 11th and 12th centuries, and seem to have been inspired by the prophecies of the Blessed Joachin of Fiore [4], a Cistercian monk from Calabria. Basing his predictions upon the The Revelation of St. John, da Fiore indicated that the Apocalypse was to begin in the year 1260.
It has been claimed [1] that these drawings, which contain symbolic objects, letters, animals, crossings of banners, bugles, crosses, candles, etc., seeming to form figures similar to Roman numerals, or veiled references to last names, represent the succession of the Roman Popes.
For example, Saint Pope Pius X (born Giuseppe Sarto) is depicted as a pontiff on a throne with a cloth held by angels in the background. As sarto is the Italian word for "tailor," the cloth is a visual pun on his surname. Likewise, Pope Pius VI (born Barnaba Chiaramonti), who was held captive in France by Napoleon and his revolutionaries, is drawn as a Pope in monkish vestments with a rose in one fist and a scythe in the other. A letter "B" is drawn in the nearby soil, with a clear view of mountains in the background (chiaramonti means "clear mountains").
The images may contain prophesies spanning a period of 400 years, beginning with the first decades of 17th century, and ending in the first decades of the 21st century. Some drawings seem to be references to historical events that affected the development of the papacy, such as the first, which indicates the approval of the rule of Saint Francis of Sales.
There are images which have been linked to the French Revolution, to the conflicts between France and Spain for the control of the Vatican, and to the interval between World Wars I and II (the coat of arms of Pope Pius XI, Achille Ratti, is clearly depicted).
A Pope is attacked.
A Pope is attacked
The 10th tableau of the codex shows an imposing pontiff holding a pastoral sceptre with an image of Mary, behind his shoulders a pike-alabarde, being attacked by a soldier with a scimitar in his hand. This drawing reminds supporters of the events of 13 May 1981, when the Turk Mehmet Ali Ağca fired a pistol at Pope John Paul II, hitting him in the abdomen. It should also be noted that the scimitar was a popular Turkish weapon at the time. John Paul II's coat of arms contained the "M" of Mary, with the Latin motto "Totus Tuus" ("All for You").
9/11, Kabbalah, Black Pope
There also seem to be references to the Second Vatican Council, the war in Bosnia in 1994-1999, and, in a picture of a stubby tower wrapped in anthropomorphic flames, possibly a prophecy of the attack on the New York World Trade Center in 2001.
Another image appears to show a kabbalistic [5] proceeding: seated in front of a shield of a rione (a section of Rome) is a man with a very long beard, covering a book with a sheet with spaced holes, possibly representing the use of an inequal letter jump-extraction similar to those of the Kabbalah. For author Cesare Ramotti, Nostradamus' Kabbalah corresponds to the extraction sequence of 1-5-5-5, a code similar to that used by Jewish scholars in extracting "hidden meanings" from the Torah. See Bible code.
Some images are extremely mysterious and may be linked to Nostradamus' quatrains. For example, one image shows one of the two unicorns, another an eel with a human head rising out of a lake. It is possible that this may be the horrible poisson (horrible fish) of Nostradamus' quatrain, III.21 [2], which Nostradamus predicted would appear in the Adriatic Sea, and which inspired the film La dolce vita by Federico Fellini.
The third secret of Our Lady of Fatima?
The last image represents the escape from a fortified city of a dark- or black-skinned high Bishop (The Black Pope?) and his court, while all around them we see the slaughter of clergymen of many races. This image has been hypothetically connected to the revealed third of the Three Secrets of Fatima.
Probable source: Marston MS 225
A work similar to this is Marston MS 225 [6], which can be found in the manuscript and rare-book library of Yale University, in New Haven, Connecticut, USA. This manuscript comes from the German areas of Bavaria and Bohemia, probably from within the courts of emperor Frederick III and Maximilian I. It has been proposed that this document may have had an impact among the various sovereigns of the Holy Roman Empire.
A library card, filled out by Carthusian [2] fathers, that was attached to the manuscript states that the images belonged to the French seer Nostradamus[3] (1503-1566). This card indicates that the codex was brought to Rome by Nostradamus' son César de Nostredame in order to be donated to cardinal Maffeo Barberini, who would later become Pope Urban VIII (1623-1644).
Style
Plate 18.
The images are similar to several manuscripts of the 11th and 12th centuries, and seem to have been inspired by the prophecies of the Blessed Joachin of Fiore [4], a Cistercian monk from Calabria. Basing his predictions upon the The Revelation of St. John, da Fiore indicated that the Apocalypse was to begin in the year 1260.
It has been claimed [1] that these drawings, which contain symbolic objects, letters, animals, crossings of banners, bugles, crosses, candles, etc., seeming to form figures similar to Roman numerals, or veiled references to last names, represent the succession of the Roman Popes.
For example, Saint Pope Pius X (born Giuseppe Sarto) is depicted as a pontiff on a throne with a cloth held by angels in the background. As sarto is the Italian word for "tailor," the cloth is a visual pun on his surname. Likewise, Pope Pius VI (born Barnaba Chiaramonti), who was held captive in France by Napoleon and his revolutionaries, is drawn as a Pope in monkish vestments with a rose in one fist and a scythe in the other. A letter "B" is drawn in the nearby soil, with a clear view of mountains in the background (chiaramonti means "clear mountains").
The images may contain prophesies spanning a period of 400 years, beginning with the first decades of 17th century, and ending in the first decades of the 21st century. Some drawings seem to be references to historical events that affected the development of the papacy, such as the first, which indicates the approval of the rule of Saint Francis of Sales.
There are images which have been linked to the French Revolution, to the conflicts between France and Spain for the control of the Vatican, and to the interval between World Wars I and II (the coat of arms of Pope Pius XI, Achille Ratti, is clearly depicted).
A Pope is attacked.
A Pope is attacked
The 10th tableau of the codex shows an imposing pontiff holding a pastoral sceptre with an image of Mary, behind his shoulders a pike-alabarde, being attacked by a soldier with a scimitar in his hand. This drawing reminds supporters of the events of 13 May 1981, when the Turk Mehmet Ali Ağca fired a pistol at Pope John Paul II, hitting him in the abdomen. It should also be noted that the scimitar was a popular Turkish weapon at the time. John Paul II's coat of arms contained the "M" of Mary, with the Latin motto "Totus Tuus" ("All for You").
9/11, Kabbalah, Black Pope
There also seem to be references to the Second Vatican Council, the war in Bosnia in 1994-1999, and, in a picture of a stubby tower wrapped in anthropomorphic flames, possibly a prophecy of the attack on the New York World Trade Center in 2001.
Another image appears to show a kabbalistic [5] proceeding: seated in front of a shield of a rione (a section of Rome) is a man with a very long beard, covering a book with a sheet with spaced holes, possibly representing the use of an inequal letter jump-extraction similar to those of the Kabbalah. For author Cesare Ramotti, Nostradamus' Kabbalah corresponds to the extraction sequence of 1-5-5-5, a code similar to that used by Jewish scholars in extracting "hidden meanings" from the Torah. See Bible code.
Some images are extremely mysterious and may be linked to Nostradamus' quatrains. For example, one image shows one of the two unicorns, another an eel with a human head rising out of a lake. It is possible that this may be the horrible poisson (horrible fish) of Nostradamus' quatrain, III.21 [2], which Nostradamus predicted would appear in the Adriatic Sea, and which inspired the film La dolce vita by Federico Fellini.
The third secret of Our Lady of Fatima?
The last image represents the escape from a fortified city of a dark- or black-skinned high Bishop (The Black Pope?) and his court, while all around them we see the slaughter of clergymen of many races. This image has been hypothetically connected to the revealed third of the Three Secrets of Fatima.
Probable source: Marston MS 225
A work similar to this is Marston MS 225 [6], which can be found in the manuscript and rare-book library of Yale University, in New Haven, Connecticut, USA. This manuscript comes from the German areas of Bavaria and Bohemia, probably from within the courts of emperor Frederick III and Maximilian I. It has been proposed that this document may have had an impact among the various sovereigns of the Holy Roman Empire.
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