Many Medieval prayer books included images of Jesus’s side wound as a vagina.

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Ancient cultures worldwide were all connected by a powerful religious symbol, the “GodSelf Icon,” an image depicting a central figure, a hero or god, facing forward and holding in either hand parallel objects or animals is especially conspicuous among the pyramid cultures which also employed the same three-door “Triptych Temple” pattern. The center door is the “source”—the “soul” inside the body. The twin doors are the opposing bodily forces of duality that surround the soul on either side, and that the soul must confront and master in life. Like the Triptych, the GodSelf Icon represents the soul of the hero balancing his opposing bodily forces, represented by the twin objects held symmetrically in each hand calls upon to develop our inner strength and spiritual potential by means of balancing the twin opposing forces within us and by carefully cultivating our physical and mental powers.

Bestiary manuscripts of the Middle Ages reflect the beliefs and superstitions of the culture that created them.

Let's say you're flipping through a medieval Christian prayer book (as you do), and suddenly you come across a curious illustration amongst the prayers and psalms of something that looks unmistakably like female genitalia. A scolding voice in your head tells you to get your mind out of the gutter. B

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Beardless & youthful Christ standing in a mandorla with a branched tree of life, holding a globe in his right hand, surrounded by the symbols of the four evangelists (tetramorph), the symbols of the four rivers of paradise (source nymphes) & Terra (bottom) and Caelus or Aer (top) & Sol (sun) & Luna (moon). München BSB Clm 4454 fol-20v Evangeliar Kaiser Heinrichs II Beginning of the 11th century CE Christus in der Mandorla, Tetramorph, Sun, Moon

Fig. 40 - This type of tetradic diagrams were used between the nineth and the thirteenth century as guidelines for the quadruple way of thinking. In the centre is the observer (homo), the world (mundus) or the year (annus) in a square or circle. Further circles underline the cyclic nature of different features like elements (ignis, aer, aqua en terra) or qualities (calidus, humida, frigida, sicca). But also the direction of the wind, temperatures, times of the year and quarters and life periods support the tetradic worldview. 1. From John Sacrobosco's 'Computus ecclesiasticus', Ms 69, fol. 38v, New York Public Library; 2. From a compilation of Isidore of Seville. Ms. lat 12999, fol. 7r, Bibliotheque Nationale, Paris; 3. Annus-Mundus. Ms 3516, mappemonde, fol. 179r, Bibliotheque de l'Arsenal, Paris; 4. From the 'Dragmaticon' if William of Conches, MS lat. 6415, f. 6r. Bibliotheque nationale, Paris. 1. From John of Sacrobosco's 'Computus ecclesiasticus', Ms. 69, fol. 38v. New York Public Library. SEARS, Elizabeth (1986). The Ages of Man. Medieval Interpreta-tions of the Life Cycle. Princeton University Press, Princeton, New Jersey. ISBN 0-691-04037-0 2. From an anonymus compilation of Isidore of Seville. Paris, Bibliotheque Nationale, Ms. lat. 12999, fol. 7r. SEARS, Elizabeth (1986). Op. cit. Also in: STOCK, Brian (1972). Myth and Science in the Twelfth Century. A Study of Bernard Silvester. Princeton University Press, Princeton, New Jersey. ISBN 0-691-05201-8. With reference: Paris, Bibl. Nat., MS lat. 5247, fol. 9rb. 3. Annus-Mundus. Paris, Bibliotheque de l'Arsenal, Ms. 3516, Mappemonde, fol. 179r. BEER, Ellen J. (1975). Les vitraux du Moyen Age de la cathedrale. In: BIAUDET, Jean Charles e.a. (1975). Le Cathedrale de Lausanne. Bibliotheque de la Societe d'Histoire de l'Art en Suisse. 3. Societe d'Histoire de l'Art en Suisse, Berne. ISBN 3 85 782 030 17 4. From the 'Dragmaticon' of William of Conches. Paris, Bibl. Nationale, MS lat. 6415, f. 6rb. STOCK, Brian (1972). Op. cit. See also: quadriformisratio.wordpress.com