“The Birth of Venus” (1485-86) is the third painting by Sandro Botticelli that PluribusOne™ has analyzed in depth. In our analyses of “Venus and Mars” and “Adoration of the Magi,” we found that Botticelli used cultural icons—mythological and biblical figures and settings—to depict and immortalize his friends, associates, and patrons, including members of the Medici and Vespucci families as well as the Vatican. Such paintings recorded their behind-the-scenes contributions to the development of the nascent superstructure of Western civilization.
For more than five hundred years, scholars have considered various interpretations of this striking painting (see Image File #26), providing only superficial insights and dead-end rationalizations. The scene is neither based on a wedding nor a Homeric hymn. Nor is it displaying a mere myth. Nor is it derived from a poem. It is not simply neo-platonic, and it is also not a Christian allegory. No one has supplied an understanding of the meaning and purpose of this visual allegory—until now. PluribusOne™ has used its Noetitek™ meta-tools to examine dozens of puzzle pieces, fit them together, and re-examine the results in the process of making a conclusive and history-making discovery.
The painting’s symbolism is layered. Therefore, first, the obviously rich and varied symbolism that has long bewildered unpretentious historians had to be properly and fully decoded. Then, that decoded information had to be correlated with the forces, faces, and events that were unfolding at the time—revealing the one “main event” that was imminent in the mid-1480s: the birth of a New World. “The Birth of Venus” was designed to commemorate, in advance, the arrival of Christopher Columbus on the shores of a land of abundance to be called America.
The wealth of evidence for this illuminating conclusion is more than adequate to prove its truth, although some of the elements of the surrounding story remain to be proved. For example, we believe, but cannot yet prove, that the person who commissioned the painting was Pope Innocent VIII who, elected to papal office in 1484, would die only days before Columbus sailed in 1492. The painting was apparently intended to express gratitude to King Ferdinand and Queen Isabella, in advance—to induce, acknowledge, and immortalize their support—for funds to cover the balance of the cost of Columbus’s trip to officially discover the Americas. Ferdinand and Isabella are depicted in the painting as the mythical gods Zephyr and Chloris, propelling the archetypal Venus (in the name of St. Mary, and further echoed in the name of Columbus’s ship: the “Santa Maria,” with Templar crosses on her sails) successfully to the distant shore.
More basic evidence for this analysis is seen in the coloration of the goddess of natural order who gestures favorably to “Venus” at the shoreline. She is wearing the colors later used in the American flag: red (mantle), white (dress), and blue (flowers). Venus—bearing the face of Simonetta Vespucci, relative of Amerigo Vespucci—is depicted on a large shell as if to present her as a pearl, but it is mostly to highlight the riches in pearls that were already known (from ancient documents) to exist along the coast of this new world, riches to be brought back to Spain. Other pieces of evidence, more detailed yet equally potent, are too numerous to include here; they will be presented elsewhere in a larger thesis.
Botticelli was more than a painter. He was an initiate of an ancient mystery school. Some say he was one of the Grand Masters of the Priory of Sion. Whatever the name of the secret society, we believe that Sandro Botticelli was among those who carried forward the invisible banner of the Knights Templar.
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Tags: Amerigo Vespucci, Botticelli, Christopher Columbus, Innocent VIII, King Ferdinand, Knights Templar, New Jerusalem, Priory of Sion, Queen Isabella, Santa Maria, Simonetta Vespucci, St. Mary, The Birth of Venus decoded, Venus on half-shell