The Murder of Mary Magdalene and the Hidden Encryption in Art

The Murder of Mary Magdalene and the Hidden Encryption in Art

by  Dan Green

The mysterious biblical figure of Mary Magdalene received a high profile boost to the uninitiated courtesy of Dan Brown’s blockbuster ‘The Da Vinci Code’, elevating her status even higher than when in 1969 the Catholic Church decided to pronounce her a Saint – quite an improvement from their previous character assassination that had assured her image for the previous centuries as being that of a harlot. In Brown’s book and movie Mary was the partner of the biblical Jesus and bore him a child, Sarah, thus the dawning of a royal bloodline. The search for her remains and evidence of this alternative historical and religious account soon became a blurred concoction, a cocktail of mixed fact and fiction.

Whereas the fictional element placed her under a pyramid at the Louvre, more realistic accounts of Mary’s final resting place varied from Jerusalem, Ephesus, Vezalay, St Maximin, and a site in Kashmir, not to mention the legends that she resides buried somewhere in the vicinity of Rennes-le-Chateau.

My own investigation of the Rennes mystery, an involvement dating back to 1985, led me via the controversial Parchments allegedly found in her small church there, coupled with numerous other clues strewn about, surprisingly, to Lincoln, England and its admired Gothic Cathedral where connected clues and my discovered ‘Lincoln Cathedral Code’ concluded at  a precise location opposite the South East corner of this great structure with the suggestion that it is here that the Magdalene and her secrets remain hidden having arrived en route from Rennes-le-Chateau and the Templars Preceptory at Temple Bruer, twelve miles South of the Cathedral. Most of the unfolding adventure is explained at length in my 2010 USA movie-documentary the disturbingly and grisly titled ‘The Murder of Mary Magdalene; Genocide of the Holy Bloodline,’ (Excerpt on Youtube under same title) for I had gone where no other investigator had dare, an unwelcome twist suggesting a pregnant Mary had not conceived a child for she had been the unfortunate victim of an unthinkable homicide, and by announcing this hypothesis I knew immediately that I was swimming against the tide, the tide being the many thousands of devotees to this great figure who were content in the preferred and woolly romantic belief that Mary had lived out her life peacefully as the wife of Christ and that a holy bloodline might still be intact.

 Now cast into the role of a Hercule Poirot style forensic detective, I will try to explain how the evidence began to unfold.

A portrayal of Mary Magdalene

We owe our unacceptable origin of violence directed towards women to the misguided historical view of female being viewed as male property, the gender role an expectant to be subservient to the male, to be dominated and discriminated against and primarily to prevent the full advancement and potential of woman. Domestic,  State, and Mob violence are three forms of it with sexual slavery thrown into the bargain, much if not all of this stemming from the bigotry and fear exemplified by the early male church and St Peter. In recent times we have had to witness the political assassination of numerous powerful women, Indira Gandhi at the hands of her own bodyguards, prominent Afghan feminist Meena Keshwar Kamal, gunned down, the first female prime minister of Rwanda Agathe Uwilingiyimana, also killed by her own guards, Konca Kuris, the Turkish feminist leader abducted, tortured and killed by Hizbollah, Swedish Minister of Foreign Affairs Anna Lindh, stabbed, Aqila al-Hashimi Iraq Foreign Minister, shot, Russian journalist and activist Anna Politkovskaya, outspoken critic of Vladimir Putin, shot, and most recently Benazir Bhutto, the first woman to lead a Muslim nation, shot in 2007. Add to this list other demised female luminaries either killed outright or involved in conspiracies such as the Grecian Hypatia, the first female mathematician, killed by fanatical Christian monks, Jean of Arc, Marilyn Monroe and Princess Diana. If the alternative story of Mary Magdalene is that she was a most powerful and influential political woman allocated the task of carrying on Christ’s Ministry in his absence and with his blessing and being his partner to boot, given that there is always a prevalent male opposition to significant female figures, are we to believe that her life was not going to be in danger, an unrealistic view that she was exempt from such underhand machinations?

Mourners at the tomb of the assassinated Benazir Bhutto

In 2007 I shared where much evidence suggests is the hidden remains of the Magdalene and her secrets once guarded by the Knights Templar, and was quite content to leave it at that after failing to secure a GPR scan for the location that was originally considered to be no problem by Lincoln Cathedral but who later reneged on granting permission. (A rogue investigator and his geophysics accomplice took it upon themselves to conduct their own scan at my site in 2010 and it revealed objects at exactly where expected.)

However I remained troubled by one piece of evidence that had unexpectedly presented itself along the way, originally noticed by an ex-BBC correspondent. A curious document dated 1917, the year that the Rennes-le-Chateau parish priest Berenger Sauniere died, deposited in a file at Grantham Library, Lincolnshire, called ‘The Quest’, handwritten, illustrated and claiming to be the work of Victor Hugo, France’s most famous novelist and allegedly the second last Grand Master of the Priory of Sion, was brought to my attention.

The mysterious dossier ‘The Quest,’ kept at Grantham Library, Lincolnshire.

Although not genuinely by Hugo, It is extra curious in that the library who have been custodians of the dossier for as long as they can remember, do not know who originally filed it with them or when. The Library itself is located within the Isaac Newton Shopping Centre with his statue facing it outside, Newton himself, like Hugo, a cited grand Master of the Priory of Sion, from 1691! Some thirty pages in total, the first five pages tells of a search for ‘a lost cathedral and city of Wyville’, as opposed to the actual small, obscure hamlet of Wyville where the quest starts, and which is situated SW of Grantham in the Lincolnshire/Leicestershire border not too far away from a Knights Templar Preceptory once existing at South Witham. My deductions learned me that this ‘lost cathedral’ is in fact Lincoln Cathedral, which, various times in the year, will simply vanish from sight when enshrouded in mist…it becomes ‘lost’.

A misty day and Lincoln Cathedral, the ‘lost’ Cathedral, has completely vanished from sight.

 ‘The Quest’ leads us to a ‘Wyville’ in the respect of a Masonic punning on the word  becoming the phonetic ‘Wife Hill,’ the hill where it is intimated we find Mary Magdalene the wife of Jesus, and it is the same spot my deductions led me via ‘The Lincoln Cathedral Code’ plus confirmatory clues placed in the church at Rennes-le-Chateau. The troubling aspect is that the first illustration that appears alongside the dossier text is that of a dagger. This tallied with the placing of one of my key clues in the Code for it was hidden at the Misericords choir stalls within Lincoln Cathedral, for the word ‘misericord’ from the Latin word for ‘mercy’ means a dagger used in medieval times to deliver the death stroke. Associated with the Rennes Parchments, and according to some a keyword in its encryption, are the two French words ‘Mort Epee’. This translates as ‘Death sword’, and a dagger is a small sword. Another strange find within the Cathedral at the St Hugh Choir is a wooden carving for which they have no explanation for. It is of a frog incising itself in the side with a dagger! As a ‘dagger frog’ is a term to describe the leather that suspends from a belt to secure a dagger or its scabbard, the carving therefore is simply a surreal pictorial of a dagger.

The dagger incising frog at St Hugh’s Choir.

  It gets even more surprising when we learn that Lincoln Cathedral, when viewed from the air, is in the shape of the original Templar emblem of the Cross of Lorraine, known also as ’The double cross’ and ‘double dagger’ (additionally, a symbol for poison). How can we have found so many dagger associations without any explanation? Some might argue there was a noticeable association, and for it we must turn to Da Vinci’s masterpiece ‘The Last Supper’ where we see a disembodied hand wielding a knife-like object. Close by we see the menacing gesture made by Peter, a slicing motion across the throat of the figure many now accept as Mary Magdalene. Is Da Vinci’s painting concealing a threat that was actually carried out…a dagger attack on Mary Magdalene ?  I think this may be so, but the attack was not aimed at the throat. I recalled how Jesus was wounded in the side whilst hanging on the cross. If Mary had been his partner, maybe she too has suffered a similar wound?

A disembodied hand aims a threat at the Magdalene  – The Last Supper by Da Vinci

  What were all these dagger associations implying in conjunction with the Magdalene? Has she been demised by a dagger? Those who believe the theory of a bloodline say that she bore a female girl called Sarah. It was at this point I was beginning to see an entirely different picture, and perhaps the real secret of Rennes-le-Chateau. What if that secret is not that Jesus and Mary had a child but that a bloodline was terminated with the death of Mary from a dagger strike? Is this what all the symbology was telling us? Is her mythical daughter Sarah just a memory to conceal the word that indicated the point of her incision…the lower abdomen, or viscera – ‘VIS-SARAH?

   I thought that if Da Vinci had intimated the dangerous secret in a work then maybe some other master painters or sculptors had too, obviously not all being privy, for how many even knew of it or had the courage to hint at it? I also considered the strong possibility that some couldn’t help revealing it unconsciously, the truth seeping through them as an unwitting and innocent human agency of the Collective Unconscious, that reservoir of all accurate accounts, rather than a secret kept alive through ‘secret societies’. It was time for me to take a trawl through depictions of Mary Magdalene – was there any tell-tale clues?

‘The Death of the Virgin’, Mary Magdalene weeping in the foreground, Caravaggio 1606

  First though, I paid attention to Caravaggio’s controversial 1606, canvass ‘The Death of the Virgin’, painted at a time when the assumption of the Virgin was not accepted. It shows her looking far younger than the 50 or so she was supposed to be, and bereft at her death in the foreground is a weeping Mary Magdalene her face covered in her hands. I have a suspicion that here the artist has transposed both women and the weeping Magdalene is telling us it is herself who is the central object of demise surrounded by the grieving male company, the red drape in the background emphasising the colour of the sacred feminine, as she witnesses her own death. Another indication is that Caravaggio deliberately modelled a prostitute, the tainted title given to the Magdalene by the church, as the Virgin. My search for a consistent wound concealed in works of art concerning Mary Magdalene was worthwhile, made all the more convincing by the constant and consistent concealed appearance of a wound or scar tissue in the same place, the left abdomen.

   There is some evidence that before, at, and after the time of the Cathars who were exterminated for their belief in Mary carrying a child of Jesus, the impending Grail legend had either originated (as Wolfram Von Eshenbach thought) in Spain or had found its way there. It is therefore no surprise that the person responsible for a graphic cryptic presentation of the demise of the Magdalene by dagger happened to be Spain’s first female sculptor, Luisa Roldan (1652-1706). In her evocative ‘The Death of Mary Magdalene’ we can interpret a demised Magdalene wounded in her left abdomen, the culprit dagger naturally expectant as a crucifix is now held by an aghast angel to her left.

‘The death of Mary Magdalene’, Luisa Roldan. The small cherub at the front looks at the dagger wound at the left abdomen.

   By route of the Collective Unconscious, Luisa was afforded the nickname ‘Sheave’, for the identically sounding ‘shiv’ related from Scottish ‘schive’, meaning ‘to slice’, originates from the Romany word ‘shiv’, a slang term for a knife-like weapon as seen held by the disembodied hand in ‘The Last Supper’. The secret that could be kept no longer seem to have been retained throughout the family, for Pedro Roldan, Luisa’s father, studied with Alonso de Mena, in turn father of Pedro de Mena who in 1664 sculpted the polychrome wood ‘Mary Magdalene in Penance’. In this beautiful life-like sculpture we see the Magdalene with her left foot thrust out drawing attention to her left side, the word ‘thrust’ meaning to stab, to pierce in a sudden or violent movement forward, her lips are open not to show she is breathing through her mouth, but taking her last breath. Upon her left abdomen area we see a ‘dagger’ knot tied on her sash, the very same knot we see worn by Jesus high up above the Virgin Mary holding the baby Jesus at the Judgement Porch at Lincoln Cathedral, except it is not the Virgin but instead Mary Magdalene holding her child.

‘Mary Magdalene in Penance’  – clue to a dagger aiming at the left abdomen?

‘The Penitent Magdalene’ by Francesco Hayez, 1833, cryptically shows the dagger incision along the left abdomen comfortably and casually masquerading as folded flesh.

‘The Penitent Magdalene’, 1833. A cryptic clue to a dagger wound disguised as folding flesh?

 The Crypt of Mary Magdalene, at le Carol, Baulou, France, shows a doleful Mary holding a cross into her waist, closer inspection showing it to be more like a dagger incising an open wound at her left abdomen.

The Crypt of Mary Magdalene, le Carol. A dagger in a wound? 

 An unusual life size 16th century wooden statue of Mary Magdalene by Gregor Erhart can be found in and purchased by the Louvre in 1902 from the German market. A wound at the same lower left abdomen appears to go unnoticed by all who admire it, perhaps perceived as her hair, for who is even looking for let alone expect a wound?

Mary Magdalene by Gregor Erhart, the Louvre. A left abdomen horizontal wound masquerades as hair.

Da Vinci made an unexpected reappearance in my murder theory when in 2002 an interesting development came to light in the art world continuing the theme that Leonardo may have been 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 authenticated as being completed by him with help from one of his pupils around 1515, shortly before his death. The painting shows Mary dressed in a red cape and holding a veil over her lower left stomach. The veil is simply to tell us that here she is ‘veiling’ something and, under enlargement and looking through the film at the level immediately above the crumpled garb she holds with her left hand, we will see what can be interpreted as a faint stretch of scar tissue over her left lower abdomen, the same point of incision as found in the other studied works of art. The dark folds contained within the piece of red cloth she grasps even resembles a dagger-like shape.

Da Vinci’s lost ‘Mary Magdalene’ –  scar tissue under the veil?

If Mary Magdalene did die from a dagger assault it is natural for us to ask who might have carried out the callous attack. I fear this is a question we will never really have the answer to, despite knowing that a fleeing married Magdalene carrying child will almost certainly have been pursued by antagonistic Roman authority wanting to stamp out any liable contribution to a Holy Bloodline. It is just as possible that the deed was the handiwork of the occasional double-dealing Jewish assassins the Sicarii, the trademark weapon of these rebels being a small dagger, the sicae. The Sicarii where an extremist splinter group of zealots who were equally opposed to both Romans and Jewish groups that raided Jewish habitations and killed those they considered apostate. They would often negotiate deals with the Romans by way of kidnap and bribery to bring about released prisoners. Did a disgruntled Sicarii member do a deal with the equally unsatisfied Simon Peter, allegedly a disciple close to Jesus and who despised the Magdelene figure, to enact the ‘double cross’, the secret of Lincoln Cathedral as seen from the air? Was she murdered by a treacherous close ally in the same way that both Indira Gandhi and Agathe Uwilingiyimana were betrayed by their own bodyguards? I doubt we will ever know for sure.

  In March this year Margaret Starbird, author of seven books concerning the Magdalene, told me that last summer she was in Saint Baume, the cave where Mary was supposed to have died after living for thirty years as a hermitess. The monk custodian told her, ‘We’re not sure she was here back then, but we know she’s here now!’ Margaret went on to describe me of a lecture she was arranging about the Magdalene, ‘Woman and Archetype’, continuing: ‘I think that’s where my heart lies, showing people how she manifests qualities of ideal womanhood and embodies the ‘heroine’s journey’…the ‘Isis’ of Christianity.’ I applaud Margaret’s stance and agree with her candid sentiment, perhaps this is all we need to do –  promote the ideal and archetype of the remarkable female Mary Magdalene. My only worry with that is that as an archetype of woman, she too will have suffered at the hands of that historical and resurfacing male streak of violence preventing the advancement of the potential of her gender, in this instance a hand that held a dagger.

Lincoln Cathedral in the shape of the double dagger and Cross of Lorraine

Copyright Dan Green 2012
Presented with permission of the author

Callum Jensen (Dan Green) is the author of ‘The Lincoln Da Vinci Code’ and ‘The Lincoln Da Vinci Code and the Mystery of Rennes-le-Chateau’

More articles by the author:

 PS Last Supper

An early sketch by Leonardo daVinci for “The Last Supper” did not have feminine figure seen in the final version of the mural painting (considered by some to represent Mary Magdalene)

Click to enlarge

Click to enlarge

 Relevant Links


  1. says

    Dan Green,
    I watched your movie, and your interview on the Moore Show.
    I have had a series of coincidences just like you have had; and it is directly related to your work.
    We should definitely talk.
    I, too, experienced a few mystics throughout this lifetime.
    I took Latin in 1979-80 from a Jesuit Priest; then I was with OSHO in Oregon, USA. I have 3 college degrees, etc. I don’t mean to brag. Just some things you ought to know. I’m a language and ancient mystery scholar; I’m 50 years old now. I also own a geodesy and land surveying business in the city that I have made this amazing discovery. A movie needs to be made; but one has already been made. I need to make one that explains it all. Please contact me.
    David Clark Moore

  2. Jennifer says

    there are other places out there saying mary is lilth you know the serpent in the garden the first woman before eve.

  3. wendy moir says

    The Mary Magdalene secret, as all biblical encoded encryptions depicted in the Last Supper incident via Da Vinci, is as the Hopi suggest, that the “EARTH MAIDEN” is killed via the head through the hand of time….END OF TIME sequel.

    The butterfly the Hopi depict is obviously the sun crop circle we received as the butterfly man on Earth, stating the star gates had been opened as the prophecy fulfilled on Earth. This was because NASA was sending satellite transmissions of the Sun harmonics as a test study into the Earth relays and the atomic orbits (UFO activity) released.
    This has always been a warning for our future prophetically encoded in the Bible as a direct message for the American Brotherhood, that they as the Skull and Bones – Mary secret as the “bones of the Mother” would use their secret occult Science and as shown in many movies, America would be destroyed by UFO activity.
    This demonstrates to the brotherhood who defied reunion with the ancient earth spirit tradition of raising their own consciousness to join it, instead would choose to attack the holy union of Mary and Jesus as prophecized via Peter as a double act.
    This is because they first would kill the Christ (healing or blue earth contact) as the child reference in this story…depicting that the healing we had received since 0 AD would be destroyed (atom split in 1900s before Christ returned via 1000 = year 2000) and the fall of the Temple, being our highest Earth wavelength would be lost as the Hand in Time.
    And then just as the story states they would not believe in Mary as a Holy Sanction of the Christ that she was left as a holy message on Earth after the Christ was killed (Fatima relay received from the atom split) to depict from the Christ attack from their occult science study of the Grail that they had destroyed time itself, hence END OF TIME fulfilled. It meant that they would ignore the Fatima message of her spirit leaving Earth statin the fact that a 2nd Hell would be opened, meaning that as the Ancients did, they would then re-open the Star Gates (windows) into Earth and encode a new Devil in their well as the 2nd deceit (collider).
    The Fatima incident depicted that the Earth would fall because the relay would open into a burnt out Sirius (Isis) old healing message that had already been destroyed as 1st Hell and reconnect our Earth Healer back into this relay via their collider use of Sirius Sun Harmonics.
    Peter is a term for repeat from petere, stating that a repeat of the Last Supper would be enacted in our prophetic future, but it would also include an Act against the Holy Virgin or Mary in time.
    This directly stated that the Christ would be murdered on the cross again as an astronomical event of his holy spirit, factoring that the PHI equations for David would be used in the Stone of the Earth, the eye would be hit (north pole) and the giant (stone – magnetism (magdalene) would fall because it was thrown by David himself (PHI wavelength).
    Magdalene is from the term magdalia meaning “crumb”, hence the atom would fail as the holy bread would be consumed (what was raised, meaning what was healed from the Ancient abomination act against Mother Earth) and this would also take out the little relays on Earth as the crumbs left.
    It also means that peter as the secret term for petros or stone, states that the old stone relays that previously caused Mother Abomination as the Sirius PHI encoded Book of the Dead would be re-enacted on Earth as a Hand in Time where the ancient crypt of the Earth would be open and the holy white spirit of the Christ released that had healed us.
    Peter as a term of secrecy also means to fail, to become exhausted and to vanish, just as the Hopi state, that the Maiden does not make it back to Earth, but leaves on the failure of the White Spirit (her veil or virgin state) to be received (wavelength) it was issued as a RED WAVELENGTH by NASA and the atomic orbitals activated on the stone path of Stonehenge.
    This is the Star Gate that NASA as the Skull and Bones occult study of Sirius defines would exhaust the Earth energy as they released it. This would be by ignoring the prophecy of Mary (Fatima) releasing the Earth’s holy spirit through the study they defined would give them the Holy Grail or the bloodline (red wavelengths of the Sin of Mary or holy whore) of the stone and the Healing values it uses for life renewal in the stone of Earth would vanish.
    NASA as prophecized in many predictions to be involved as SATAN – NASA wanted this information (T) as the cross to use as a energy resource, in their stone collider theory, based on this ancient brotherhood information about Atlantis.
    Pater as another term for Father or patere as Peter is also a term used by the holy brothers references meaning to be open, that the Star Gate to Sirius to Earth relay as blue star would be open and it would be exhausted, causing the combustion of the American relays around the Earth globe.

  4. Dr. John Smallberries says

    Oops. A re-examination reveals that Mary’s hands are indeed clasped in front of her. The real takeaway here is even more startling: Mary Magdalene had three arms.


  5. Dr. John Smallberries says

    Hi, Dan. FYI, if you look at the restored Leonardo, “Last Supper,” here…

    …it looks very much as if the dagger is in the hand of Mary Magdalene herself — which in itself opens up whole new levels of speculation, the main gist of which is obvious, but note that she’s also holding the mini scimitar-like blade behind the BACK of Judas. If the previous self-infliction is tossed out, perhaps Mary knew about Judas and secretly wanted to axe him, but since Brother J was allowing the “betrayal” to occur… impossible to know. Da-da’s sources point to Mary Magdalene having been Jesus’ legal wife (e.g., she was allowed in the cave after death, which by Jewish custom was only allowed to family, etc.), and the closest apostle to him, bringing about all kinds of other apostlic jealousies, though no child was realized. All the “blood lines” bugaboos are merely secret society shenanigans, designed to cause one to miss the real point in Brother J’s singular message.


  6. Dan Green says

    ..that would be food for thought on the Last Supper table! I should add to the article that within Lincoln Cathedral is the tomb of Queen Eleanor – our Rennes Parchment Shepherdess in the Cathedral Code – which contains her viscera only, situated to the right of St John the Baptist altar with the head shrine to the left and the Masonic ‘Dog on the plate’ – at the scene of the Last Supper upon the Great East Window – above the altar, drawing our attention to Da Vinci’s painting, where we can also see how Judas has spilled over a bowl of salt – an act of absolving and a omen of an evil deed about to be perpetrated. The etymology of his name ‘Iscariot’ suggests it comes from the Latin ‘sicarius’ which means ‘dagger man’, and of course we find ‘sicarii’ anagramatically concealed within it.

  7. Micah says

    nice work – one comment I’d like to make:

    The Holy Grail bloodline is still being exterminated today- the Edomites are doing everything in their power to kill off the legitimate Holy Grail bloodline and they have succeeded in convincing most of the world that they who have stolen most of the world’s wealth are the ‘new holy bloodline.’

    However, this evil Edomite bloodline that has infested all the world is actually the bloodline of the soon to come Russian Antichrist ( false Messiah).

    In the above Caravaggio painting the red drape is actually the symbol of the Edomite satanic bloodlines and the color of red is symbolic of the blood they have spilled for centuries in their quest to steal the title of Holy bloodline. This red is also the symbolic color of the Edomite God Satan, and is also the color of Communism which is soon to take over the world when the Edomite Antichrist assumes authority here near the end of 2012.

    It’s interesting you mention the Cross of Lorraine because the famous artist George de la Tour worked mostly in Lorraine- and I suspect he was a Templar Knight. Caravaggio was a Knight of Malta- and the history of his death I believe is bogus- personally I think he tried to leave the Matlese Order which is forbidden and carries the penalty of death- I believe he was assasinated by either the Knights of Malta, or perhaps by the order of the Pope. Just food for thought.

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