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Michelangelo's Great Secret Hidden in Plain Sight
The Sistine Chapel's Cumaean Sybil and the Romans in America
In tribute to the upcoming 250th Anniversary of the founding of the United States of America, and the Cayman Islands' Discovery Day observed annually on the third Monday in May, independent researcher of art and history and owner of Roman Officer, Inc. David Xavier Kenney and his assistants Linda E. Rouleau and Renee Z. Bakarian announce the upcoming release of some of Kenney's incredible findings concerning Michelangelo's Cumaean Sibyl and other frescoes on the ceiling of the Sistine Chapel.
 
Michelangelo painted the fresco depicting the legendary prophetess the Cumaean Sybil
less than a decade after Columbus' discovery of Cayman Brac and Little Cayman
islands on May 10, 1503. According to Kenney, Michelangelo referenced Columbus'
discovery in his art. But there is much more to this message as it is layered, or intertwined with additional symbolism hinting that Michelangelo also had knowledge that the Romans had visited North America on a secret expedition in the late 2nd C. AD. Although this expedition may have been their largest, it was not their first as Kenney also has evidence there were earlier expeditions. According to Kenney's research, the ancient Romans, and centuries later the Spanish (who definitely had knowledge of the Roman expeditions, but had their own reasons for continuing to keep such a secret), both appeared to have had a fervent interest in the prophecies of ancient peoples indigenous to North America. Some of these indigenous peoples' mythologies apparently had parallels to Christian stories. It appears that Michelangelo had knowledge of and an opinion about some of this information at the time he painted the Sistine Chapel ceilings.
 
The obvious nod in the Cumaean Sibyl fresco to Columbus' discovery of the Cayman
Islands are the decimal system digits 1503 which are formed mainly by the lower portion of the arms of a cupid and the book he is holding, along with the Sybil's right forearm and her cloak. Two other of Michelangelo's five Sybil frescoes (the Delphic Sybil and the Libyan Sybil frescoes) also contain images of large Latin bind letters which form the decimal digits 1503, although less distinctly than that in the Cumaean Sybil. It appears this is because he considered these two Sybils to be associated more with the Cumaean Sibyl (although of lesser importance) and the Western themes involving America in this instance. The Erythraean Sibyl and Persian Sybil were not included because he considered them Eastern. Additional information will be forthcoming on the Cumaean Sybil fresco and the symbolism it contains that is in plain view.
 
Before their extinction, the Taino people who were indigenous to much of the West Indies had a mythological fire-bringing cultural hero Deminan Caracaracol who had bad skin and is humped over with a turtle shell on his back. The story of Deminan is a central Taino creation myth which was first recorded by Fray Ramon Pane on Columbus' second voyage in 1493. Sybil on this fresco is depicted with very masculine characteristics, humped over with cracked skin. Her cloak appears to form one turtle shell on her back that is upside down (upside down usually symbolizes something defeated), and one on the top of her right thigh for a second turtle shell (Columbus' log reported only two of the three Cayman Islands and that both islands were abundant with sea turtles). On the Sybil's upper left arm, shoulder and chest the outline of an axe can be seen (a stone axe cutting the turtle shell off Deminan's back is part of that myth). A Roman greave (a sign of an emperor, a high-ranking officer, or a centurion) can be seen on the top of her right shin.  Elsewhere there is a reference to the mythical Aspidochelone (Asp-turtle) sea monster, as well as other symbolism that will be discussed in forthcoming announcements.
 
The "5" in 1503 appears to represent abbreviations for Christopher Columbus (with the spelling in Latin of those two names). Kenney has learned from legionary votive inscriptions that the decimal system digit "5" is the same as a symbol that was regularly used in the Roman bind letter inscription "CS" for Caesar. The bind Roman numerals VI which are formed by the books in the fresco, and the Roman letters VIC that can also be seen, no doubt represent the Roman Legion VI Victrix. Kenney has been researching Roman votives in Florida (as well as elsewhere in the US and Europe) for years that indicate this legion in the late 2nd C. AD. conducted a punitive expedition against mutineers from a previous expedition who were a cohort of auxiliary Armenian archers who were Christians, and who may have been inspired to mutiny by the beliefs of the indigenous peoples.*  The art on the Sybil's turban viewed from various positions shows symbolism that suggests the defeat of the VI Victrix by eastern archers (Armenians). Kenney has Roman votive artifacts that show that the Romans very likely hunted the mutineers and executed them.
 
More of David Xavier Kenney's detailed research concerning these and related topics
will be included in a website Prophecy1776.com that is soon to be launched. The
website will show, among other things:
 
  • Votives which appear related to the prophecy of the Cumaean Sibyl in Virgil's Fourth Eclogue (an ode to a coming golden age brought by a divine child), as well as its later Christian interpretation
 
  • Roman artifacts (including votives) found in North America and Europe
 
  • Votive artifacts from Spanish Florida made by occultists; some of whom may have been cameo carvers and jewelers from the Kingdom of Naples
 
  • A painted wooden artifact dated 1818 (just before the Spanish left Florida) that indicates what the Spanish occultists were likely trying to harness.
 
  • Roman votive artifacts from Europe that were made in acknowledgment of the Roman expedition in the late 2nd C. AD. These artifacts contain themes that will be an amazing surprise for the archeological world, that is even without the votive aspects. 
 
Related information concerning Michelangelo's Creation of Adam fresco:
 
  • What appears to be a direct connection between Michelangelo's Cumaean Sybil and the Creation of Adam frescoes
 
  • More evidence that the ancient cameo (held in the Beverley collection at Alnwick Castle, England) which shows a nude believed to be Augustus riding on a Capricorn was the inspiration for "The Creation of Adam" fresco
 
  • The theory that Cardinal Domenico Grimani who is thought to have once been one of the original owners of that cameo may have had a great deal of influence on the "hidden" symbolism in the Cumaean Sibyl and the Creation of Adam frescoes.
 
 
 * The symbolism in the fresco shows that naturally Michelangelo was sympathetic to the Armenian archers who were Christians, not the Romans.  However, Kenney states that according to information found on a key Roman votive from Florida, the mutineers were Marcionites who had turned and may have been led by one of their Centurions. As they were archers (and bizarre as it sounds, there is some evidence they possibly were mounted), then it could be speculated that they may have been the meat hunters with the previous expedition. As Marcionites were considered heretics by the Church of Rome, then it should be assumed that Michelangelo (and anyone else who may have been involved in providing knowledge about that Roman expedition) were not aware of that information.  It seems fair to state that a detailed study of these frescoes will confirm that Michelangelo was a devout Catholic who first and foremost was committed to promoting Western Christianity.