Vaticinia Michaelis Nostradami de Futuri Christi Vicarii ad Cesarem Filium, more commonly known as “Vaticinia Nostradami” (alias “The lost book” or “The last book”) is a collection of 80 watercolor images of an illustrated manuscript dated in the seventeenth century and attributed to Nostradamus.

 

An original card of the Carthusian monks, enclosed to the manuscript says that the book was brought to Rome by his son, César de Notredame and donated to Cardinal Maffeo Barberini, director of the Vatican Library and the future Pope Urban VIII.

 

The inscription on the last page of the book suggests that it is “forbidden” text.

 

 

“Sitting alone at night in secret room; it rest solitary on the brass tripod.
A slight flame comes out of the emptiness and
makes thrive that what is believed is not in vain” .

First quatrain of Nostradamus

 

The figures are a sequence of prophetic representations, events and characters, that, according to some authors (Cesare Ramotti, Vincent Bridges), show the succession of Roman popes and contain symbolic objects, letters, animals, crossings of flags, crosses, etc. that form figures similar to Roman numbers or allusions to surnames.

 

Cesare Ramotti interpreted some figures as allusions to important historical events related to the papacy, such as the initial one, which acts as an indication of timing and is connected to the establishment of the rule of San Francesco di Sales or as references to the french revolution, to the conflicts between France and Spain for the control of the Vatican, the interval between the First and the Second World War, where appears the mark of Pope Pius XI, Achille Ratti.

 

The church did not want anyone else to see the book and, for this reason, Cardinal Barberini asked some trustworthy persons to interpret it.

 

The last picture represents the escape from a fortified city, of a high priest of dark or black skin, together with his entourage, which coincides with a massacre of priests of many races. This image was supposedly linked to the already revealed third secret of Fatima and is similar to a vision that had St. Pius X, reported by Stephen Skinner in his “Millennium Prophecies“.

 

Some believe that the last seven pages of the manuscript are a sufficient reason to make it disappear and argue that these drawings, and the possible reference to the Antichrist, indicate when and how (with alarming precision) will be experienced the worst nightmare of humanity.

 

While the “Centuries” or the “Prophecies of Nostradamus” have been the subject of several interpretations, right or wrong ones, the figures of the “Vaticinia” or the “lost book” represent a puzzle equally difficult to interpret but not enough debated.

 

I personally consider them a real masterpiece that leaves space to many and various types of interpretation and which is connected in some way to the figure of the prophet himself who, let’s not forget, was an educated and wealthy man, in tune with thinkers of the time like Cornelius Agrippa and Pico della Mirandola. He was an intellectual and a worthy representative of the Renaissance hermetic philosophy. Nostradamus had studied and could afford to travel and read books and texts that few had access to; He met celebrities and influential astrologers or seers like Luca Gaurico, Ulrich de Mayence, the magician Henry Khunrath or Julius Caesar Scaliger and was initiated into the science of the stars by the great-grandfather Jean de SaintRémy, real doctor and connoisseur of mathematics and alchemy, Kabala and esotery.

 

One of the main criticisms of the “Prophecies of Nostradamus” is the fact that is “multi-purpose” and adapts to different historical figures, among them similar, and in many situations. He uses anagrams and abbreviations, characters and mythological and symbolic images which make the Prophecies obscure and cryptic, perhaps a thin bleak and psychological game. But isn’t this a “sagacity” noteworthy? It is not just the fact that the “Centuries”, the “Vaticinia”, or his literary production in general can provide various assumptions that make them irresistibly charming?

 

Can we really believe that the “images” of the “lost book” are a simplistic representation of popes and influential people, mixed in a sort of esoteric astrological puzzle?

 

Instead, why not try to seek a deeper message, inherent to the very nature of the prophet, closer to that of the magician or medium than to that of the astrologer. In fact Nostradamus had difficulties to prove himself with the astronomical tables and horoscopy, but he used theurgic magic, onomancy, physiognomy and dactilomancy. For his evocations he used particular plants that he burned and inhaled the fumes of, till he fell into a kind of induced hallucination which provided the famous visions then, arranged in verse the visions became the famous “Centuries”.

 

If we try to analyze in depth the watercolor images of “Vaticinia” we will see that, as in a Russian icon, as the surface layers are removed, come out other layers that follow and overlap to originate anywhere, anytime, a “message” or “prophecy” hidden and concealed...

 

The “Prophet of Salon” uses the art of concealing a meaning even in his own will, thirteen days after registration, by adding a codicil, from whose careful analysis posterity will detect numerical data regarding the Prophecies, which shell help distinguish the real ones from those apocryphal ones.

 

The technique that Nostradamus exposed in the first “Century” uses the relaxation that facilitates extrasensory perception and self-hypnosis. Perceptions are caused by ancient magic rituals and are probably influenced by astrological research and ancient texts, Kabala and esoterism as well as the use of some magical mirrors specially made for this purpose.

 

The secret of the “lost book” of Nostradamus is still unrevealed?

 

It seems that the mystery of Nostradamus is even today an open question.

 

The hypothesis that the “lost book”, as the “Centuries”, is a coded book, concealed by an apparent incomprehensible deciphering, does it correspond to reality? Is it really possible that Nostradamus has predicted the future? Or better said, is his precognition sustainable and acceptable?

 

The modern parapsychological theories explain precognition with the theories of the “fourth dimension” of the “Psi field” that would make the future, according to some, not absolute and fixed just as, in my opinion, meant Nostradamus, who in the “quatrains” and in “the images of the lost book” transmits advice, which if followed, bring the possibility to avoid or adapt, a probabilistic future, in accordance with the parameters of free will, subconscious instinct, the sixth sense, and the consequent decision chosen – just as I repeatedly mentioned in my articles!

 

Conclusions.

 

I enclose a few tables of “Vaticinia” or “lost book” or “The last book” of Nostradamus that have been analyzed and interpreted by me trying to reveal the “hidden message” from the prophet. As you will see the future of Nostradamus is closely connected with the ancient science but is also influenced by the “free will” and by “our subconscious”.

 

Soon I will reveal you more details and clarifications on my research and on the new interpretation of the quatrains of Nostradamus for which I sought the help of a researcher and expert on the Prophet of Salon, who devoted his extraordinary genius as well as some years of thorough and detailed study, to develop a new “interpretive project”, interesting and absolutely revolutionary.