Back to South France Retreat and Tour The Secret...
That’s why Peter is astonished in the “Adoration.” It is Mary Magdalene’s child by Jesus whose birth is honoured in the “Adoration.” This child, symbolized in Leonardo’s coded images as “St. John,” has a prominent, although obscured, role to play in the early history of Christianity in Provence as St. Trophime. He is somehow also a “Christ,” one that is worthy of being honoured by Jesus himself. But most important of all, Leonardo is telling us that the Church of Rome, Peter’s Church, is not the real church; it is in fact a persecuting and betraying entity that has suppressed the Sophia wisdom of the Master’s Bride and most intimate disciple. Leonardo is a true Grail Knight, as shown by his portrait in the “Adoration.” He is one who protects the secret by hiding it in plain sight, a coded message in a bottle, addressed to those seekers who come after him. In that way, he and Nostradamus have much in common. QUOTE"As far back as I can remember, I have in front of me a barrage of mountains whose hillocks and slopes, cliffs and narrow valleys were blue from dawn 'til dusk; a blue that varied in intensity according to the time of day. This is the chain of the Alpilles, surrounded by olive groves like some mountain of ancient Greece and a lofty keeper of legends and glory..." "Caius Marius, the savior from Rome still popular throughout the region awaited the barbarians at the foot of this rampart, behind the walls of his camp; his trophies have been gilding under the sun of Les Antiques, near St. Remy, for two thousand years..." "On the steep rocky cliffs of the mountain ... the princes of Les Baux built their stronghold. The gracious chatelaines held their courts of love in the fragrant vales of Les Baux... at the time of the troubadours." "Oh delightful fragrances! Oh light! Oh gentle nature's peace; what longings of paradise you place in my child's soul..." Fredric Mistral- The Empire of the Sun |
One point is clear. Leonardo, like Nostradamus,
was in touch with various levels of what was an almost forgotten
heresy in his time.
When we gather together the clues that Leonardo has given us, certain
threads become clear, at least in their confusion. The Virgin Mary,
Jesus’ mother, is confused with Mary Magdalene, and the infant
Jesus is confused with his cousin John, or perhaps with another “St.
John” altogether. These confusions are covers or blinds for a
deeper meaning. They tell us that the Virgin is actually the Magdalene,
and that Jesus is, in some obscure way, the same as the ever-present “St.
John.”