Professional Calligraphic Analysis Authenticates TIA-Leaked
“Third Secret of Fatima” Text
This photo above was sent to Tradition in Action (TIA) by an unidentified person in Portugal who had access to this document of an unsigned text supposedly was written by Sister Lucy in her Convent of Tuy on September 1, 1944 or April 1, 1944 -it is not clear whether the number indicating the month is 9 or 4. A fingerprint of Sister Lucy was placed on the bottom of the page presumably to attest to its authenticity.
JMJ Tuy 1 de setembro de 1944 ou 1 de abril de 1944
Agora vou revelar o terceiro fragmento do segredo: Esta parte é a apostasia na Igreja!
Nossa Senhora mostrou-nos uma vista do um indivíduo que eu descrevo como o 'santo Padre', em frente de uma multidão que estava louvando-o.
Mas havia uma diferenca com um verdadeiro santo Padre, o olhar do demonio, este tinha o olhar do mal.
Então depois de alguns momentos vimos o mesmo Papa entrando a uma Igreja, mas esta Igreja era a Igreja do inferno, não há modo para descrever a fealdade d'ésse lugar, parecia uma fortaleza feita de cimento cinzento com ángulos quebrados e janelas semelhantes a olhos, tinha um bico no telhado do edificio.
Em seguida levantamos a vista para Nossa Senhora que nos disse Vistes a apostasia na Igreja, esta carta pode ser aberta por O santo Padrre, mas deve ser anunciada depois de Pio XII e antes de 1960.
No reinado de Juan Pablo II a pedra angular da tumba de Pedro deve ser removida e transferida para Fatima.
Porque o dogma da fé não é conservado em Roma, sua autoridade será removida e entregada a Fatima.
A catedral de Roma deve ser destruida e uma nova construida em Fatima.
Se 69 semanas depois de que esta ordem é anunciada Roma continua sua abominação, a cidade será destruida.
Nossa Senhora disse-nos que ésto está escrito, Daniel 9, 24-25 e Mateus 21, 42-44
JMJ Tuy September 1, 1944 or April 1, 1944
Now I am going to reveal the third fragment of the secret: This part is the apostasy in the Church!
Our Lady showed us the individual who I describe as the 'holy Father' in front of a multitude that was cheering him.
But there was a difference from a true holy Father, his devilish gaze, this one had the gaze of evil.
Then, after some moments we saw the same Pope entering a Church, but this Church was the Church of hell; there is no way to describe the ugliness of that place. It looked like a gray cement fortress with broken angles and windows similar to eyes; it had a beak in the roof of the building.
Next, we raised our eyes to Our Lady who said to us: You saw the apostasy in the Church; this letter can be opened by the holy Father, but it must be announced after Pius XII and before 1960.
In the kingdom of John Paul II the cornerstone of Peter's grave must be removed and transferred to Fatima.
Because the dogma of the faith is not conserved in Rome, its authority will be removed and delivered to Fatima.
The cathedral of Rome must be destroyed and a new one built in Fatima.
If 69 weeks after this order is announced, Rome continues its abomination, the city will be destroyed.
Our Lady told us that this is written, [in] Daniel 9:24-25 and Matthew 21:42-44
Scriptural Passages Referenced:
Jesus saith unto them, Did ye never read in the scriptures, The stone which the builders rejected, the same is become the head of the corner: this is the Lord's doing, and it is marvellous in our eyes?
Therefore say I unto you, The kingdom of God shall be taken from you, and given to a nation bringing forth the fruits thereof.
And whosoever shall fall on this stone shall be broken: but on whomsoever it shall fall, it will grind him to powder.
Seventy weeks are determined upon thy people and upon thy holy city, to finish the transgression, and to make an end of sins, and to make reconciliation for iniquity, and to bring in everlasting righteousness, and to seal up the vision and prophecy, and to anoint the most Holy.
Know therefore and understand, that from the going forth of the commandment to restore and to build Jerusalem unto the Messiah the Prince shall be seven weeks, and threescore and two weeks: the street shall be built again, and the wall, even in troublous times.
The Third Secret of Fatima:
Interview with the Analyst Who Confirmed its Authenticity
By José María Zavala
She is one of the most renowned handwriting experts in Spain and abroad. Begoña Slocker de Arce, a consultant [forensic document analyst] for Courts of Justice, has studied one of the most important documents in the History of the Church – the supposed unrevealed Third Secret of Fatima – in this year of 2017 that celebrates the 100th year anniversary of the May 13 apparition.
Her impeccable 24-page report, which is fully reproduced in my book The Best Kept Secret of Fatima, whose fourth edition the Grupo Planeta is already preparing for release in just one month, makes a surprising conclusion: Sister Lucia de Fatima wrote a document, until now almost unknown, in which the Virgin prophesies the apostasy in the Church starting from the very top, and the existence of a Pope under the control of Satan. Below follows an interview with Slocker de Arce:
Question: Did you have knowledge about the Fatima apparitions of Fatima that could have influenced you in preparing your report?
Answer: Like anyone educated in a Catholic school, I knew about the apparition of the Virgin to the little shepherds, but had no other information that could have interested me over the years. That is why I was under no influence whatsoever in undertaking this work, whether in favor of its [the letter's] authenticity or against it. I warned you of this presupposition from the beginning and you agreed without putting conditions.
Q: As a well-known handwriting expert both inside and outside of Spain, did you ever fear that your report on the unrevealed Third Secret of Fatima might in some way affect your untarnished reputation?
A: When I learned that my analysis would be published in full, I had a moment of fear when I realized that it was going to be examined under magnifying glasses by experts of all kinds, coming under the judgment of professional colleagues. But, I also knew that, after having carried out my analysis rigorously and honestly, they [the other analysts] could add little to the arguments I set out in it. The data I give are correct regarding the study of a comparison. In fact, I have only received words of congratulation for my prudence based on comparative data.
Q: How many years have you been practicing your profession? Where did you study and who were your best teachers? When and why did you decide to start your own graphology center?
A: I have been practicing the profession of graphologist-handwriting expert for more than 25 years. My father, Luis Pérez Slocker, was a graphologist and handwriting expert since 1954; he was a student of Maite Ras, who introduced this science in Spain. It was my father who advised me to get my degree at the Spanish Society of Graphology under the teacher Mauricio Xandró, who died two years ago, the last of a generation of great teachers like Augusto Vels, Max Pulver (Switzerland), Rafael Shermann (Germany) and Matilde Ras, who introduced Graphology in Spain. I say Graphology, because the Handwriting Analysis is one branch of it. Let me add that in a handwriting analysis, graphology is not used. The Graphological Center was founded because, as the work increased along with the number of specialties in this science, I had to separate it by areas and, then, set out the different specialties and find qualified professionals for each one.
Q: Can you name one of the most famous issues that has required your intervention as an expert?
A: My professional secrecy does not permit to speak about things I have done. For me, each case is the most important and, once done, the only thing that matters to me is to be confident about what I did - either for the good or the bad - according to my professional ethics.
Q: What made you finally decide to face the difficult challenge of verifying the authenticity of a document of such importance?
A: I had already participated with you in another of your books, in which you showed your respect for my work, not changing a comma of the report that I made for Las mentiras de ZP [The lies of ZP] on the personality of José Luis Rodríguez Zapatero, where I affirm that he does not lie, but that he believes in his own lies. This gave me confidence in you, because I knew that you would not manipulate my analysis. And indeed, it has not been done in this case: My analysis is exactly as I gave it to you.
Q: Why are you so sure that the document of the unrevealed Third Secret of Fatima was written, like the first two secrets, by the same hand of Sister Lucia?
A: So sure? I only know that my work is done with rigor, with all the knowledge I have placed at the service of the analysis. I think it is impossible to write two identical letters, since we have life, movement and this is what causes the writing of the same person to have certain differences when writing the same letter. We also have personal characteristics that come from our unconscious and that are impossible for another writer to reproduce. Speed is very important because it is very difficult to imitate the slant, the cohesion... These are characteristics that a counterfeiter cannot maintain in more than six consecutive lines because the unconscious part betrays him and the hand movement obeys the brain – not our intentions. The document we have studied is a clear case where all these factors are positive, never with sufficient differences to doubt its authenticity.
Q: Are there other renowned experts like you who support your conclusion? Who are they?
A: After I finished working with my usual team, to which Lorena Gilaranz, an analyst for the courts of justice, belongs, I went to two of the most prestigious experts, my colleagues, who approved it. I also received the support of the Spanish Society of Graphology.
Q: Did it take you many hours to produce your large report? What process was followed? Did it require anyone's help?
A: The analysis was arduous, since we were working with letters from another time. We examined each one of them to recognize the changes in both documents. We worked on the analysis day and night until it was delivered, making it clear that the result was not influenced by my reputation or any other area. As I say in the report, other types of tests could be made on the originals [if they were known], which in my opinion would only reinforce what I have presented following my knowledge and understanding.
Source: José María Zavala, Es Diario, May 6, 2017, http://www.esdiario.com/elsemanaldigital/199560914/Nada-me-ha-condicionado-ni-a-favor-ni-en-contra.html
English translation: Atila S. Guimarães, Tradition in Action, May 11, 2017, http://traditioninaction.org/Questions/B965_Begona.html.
Begoña Slocker: "We work with originals, and since I do not have these pieces of data, I have based myself mainly on the velocity, inclination and type-gestures, which means that when I superimpose the letters, if they are identical, it would be a forgery, but they are not identical….My conclusion is that it is clearly brought about by the same hand and I have reviewed it with the President of the Spanish Society of Calligraphy, who has corroborated it, and with Tomás Alonso de Corcuera, the number one expert in Spain, who has been a professor and lecturer for the Scientific Police of Madrid….It's an expert analysis conscientiously done, to which I have dedicated many days and nights."
Source: Almudena Martínez-Bordiú, InfoVaticana, March 29, 2017, Translated by Andrew Guernsey, https://infovaticana.com/2017/03/29/el-tercer-secreto-de-fatima-un-papa-con-ojos-de-demonio/.
CALLIGRAPHIC EXPERT REPORT
BEGOÑA SLOCKER DE ARCE, MADRID
Translated by Andrew Guernsey
Published in: José María Zavala, El secreto mejor guardado de Fátima: Una investigación 100 años después [The Best Kept Secret of Fatima: An Investigation 100 years After], 2017,
• Begoña Slocker de Arce, expert calligrapher of the courts of law in exercise.
• Expert calligrapher by the Spanish Society of Graphology, directed by Professor Mauricio Xandró.
• Expert calligrapher directed by Professor Francisco Álvarez (former colonel of the Investigation and Criminalistics Headquarters of the Civil Guard).
• Diploma in Calligraphic Expertise from the Autonomous University of Barcelona.
• Professor-Tutor of the courses in Madrid of Expert Judicial Calligrapher, Graphic Artist, Forensic Documentoscopy and Sociolinguistics at the Autonomous University of Barcelona, from 2009 to 2011.
• Teaching courses at the University of Alcalá at Henares, the Francisco de Vitoria University.
• Director of the Slocker Graphological Center.
It has been requested at the behest of D. José María Zavala to perform expert calligraphic analysis of two written manuscripts:
✥ Unquestioned Document (Doc. 1) which consists of two sheets of paper corresponding to the First and the Second Part of the Secret of Fatima, written in her own handwriting by Sister Lucía dos Santos in her Third Memoir of August 31, 1941, handed over on his day to the Bishop of Leiria-Fatima.
✥ Questioned Document (Doc. 2) which consists of a sheet of paper belonging, presumably, to the unrevealed Third Part of the Secret of Fatima, written on April 1, 1944.
And to determine whether the Questioned Document (Doc. 2) was made by the same hand as the Unquestioned Document (Doc. 1).
I note that the material that has been analyzed is photographic because both documents are in custody and they cannot be accessed. The quality of the image of Doc. 1 is of high resolution, while in Doc. 2, as it has not yet been revealed, the image quality has been attempted with the highest resolution possible, given the unrevealed circumstances of the secret. For the preparation of this calligraphic expert analysis we have worked on graphical aspects in which the material has not been an impediment to its realization.
TECHNICAL MEANS UTILIZED
The documents in question were examined with the proper and regular methods for this type of study.
In the first place, all of the following documents have been examined on the pages of illustrations with normal magnifiers of 5-15x , in order to determine the conformity of their brush strokes, entry points (initial stroke) and exit points (final stroke), bonds, path, etc., contained in the manuscripts, whose tracing and panoramic examination is best achieved with these simple magnifiers with little magnification.
Enlargements have been made by means of a scanner in order to make comparisons to identify the authorship.
Using a negatoscope, the strokes, bonds and endings have been followed, which are the parts which will demonstrate the author’s hand with enough certainty, since each stroke, trait, bond and oscillation is examined, at the same time in the unquestioned originals and also in the letters or traits that present doubts and, thanks to this, important facts are provided in the report.
Through the Truescan we can see 20 times larger with composite video signal in standard colors CCIR50Hz; 1 Vpp; 75 ohms PAL380 TV lines. Resolution of 628x582 pixels.
Scanner (Canon), computer image processing programs, reproductions and various extensions of the documents reviewed or any of its parts:
• Normal magnifiers of 5-15
• Zoom microscope of 60x, 80x, 100x
• Different types of photocopies were made
• TrueScan, spectral analysis of sorts desired
• Computerized system such as the CanoScan 4200F Scanner to enlarge and see all the traits in detail.
• The tracing of the more unconscious traits was carefully studied, for which it is more difficult to forge the natural movement of the hand.
Every person’s handwriting is composed of individualized gestures distinct from those of anyone else, because they correspond to a series of movements made automatically, coming from a habit. These gestures are made without needing a state of awareness in order to make each of the strokes composed.
Thus, the manuscripts of the same person should maintain among them a series of similar characteristics when they are inconsistent, such as: the form, composition, proportion of strokes, fixed proportion, etc.
One of the most important fundamentals of Graphical Criticism and the other techniques of writing in general lies in the personal character of the handwriting and in its cerebral origin.
Professor Villalaín affirms in this respect that "Writing is a very complex act, resulting from a long period of learning on the part of the whole nervous system and structured at the highest level. In order to ensure the correct handwriting it is necessary to understand what is heard, to understand what is seen, to elaborate and to program the language to express, to program the precise movements and to elaborate the corresponding graphical signs. All this presupposes the unity of knowledge and action and implies neuro-organic integrity” (Pathophysiology of Gesture. AG Madrid. 1981. DJ Delfín Villalaín Blanco. Doctor in Medicine. Professor of the Chair of Legal Medicine at the UCM. Head of the Criminology Research Section. Madrid).
In the same way that everyone walks, gesticulates, laughs, in a peculiar way, the fruit of one’s psychomotricity, so also handwriting is impregnated with a series of tendencies and peculiar traits which differentiate it from the others.
Like most manifestations of the human being, the graphical manifestation should be considered under its dynamic aspect. From the time of school learning, it undergoes a gradual transformation. The strokes are simplified, modified and adapted to personal style. With this, and in a process not entirely conscious, the graphical personality is forged.
Precisely these adaptations and deviations from the learned model will be the key pieces in work of identification, due, above all, to its personal character.
By acquiring and consolidating a style of handwriting, the person responds to his or her inclinations, impulses and tendencies. For this reason, most of one’s written productions will have a genesis not entirely conscious, since its origins are not always in the sphere of the rational and logical will, but in the realm of emotions and affective states.
All of one’s manuscripts will have their importance, and if one attempts forgery, sooner or later, one’s own peculiar traits will emerge.
Of no less importance is the other basis for the expert discipline, constituted by the Laws of Handwriting enunciated by E. Solange Pellat.
Among them we emphasize, for their direct relationship with the subject that concerns us, the following:
* FIRST LAW: The graphical gesture depends directly on the brain and its shape is not changed by the writing instrument, if it functions normally and is found sufficiently adapted for its function.
This fact has been widely verified in those who have mutilated their right hand or both hands, who after being trained, reproduced the same type of handwriting with other body parts (left hand, mouth, feet, etc.).
* SECOND LAW: When one writes, the ‘ego’ is in action but passes through continuous alternatives of intensity and weakening of attention.
The maximum intensity of the conscious ‘ego’ occurs where there is a need for an effort, that is to say, in the beginnings.
The minimal intensity of the conscious ‘ego’ occurs where the movement of the handwriting is supported by the acquired impulse, that is to say, in the endings.
At the beginning of a manuscript, the person is more conscious of what he or she is doing. As we are writing, the focus becomes centered more on the content and less on the form, thus producing a handwriting more fluid and spontaneous.
This law especially applies to intentionally forged manuscripts, since with them the writer begins significantly altering his or her letters, but without realizing, his or her handwriting reverts to its essential forms. The ‘ego’ ends up acting unconsciously, ending up by imposing itself.
* THIRD LAW: It is not possible to intentionally modify one's own handwriting without traces appearing in the writing of the effort made to repress one’s own style of handwriting.
These traces are evidenced by the presence of deviations, interruptions, hook, breaks, unnecessary stops, touch-ups, etc.
Research done by Saudek has also demonstrated the permanent and idiosyncratic character of handwriting, and in one of his principles he states that "No person is able to change, at the same time, all the component factors that are part of graphology: variety and richness of shapes and sizes, cohesion, inclination and pressure” (Saudek, Robert: The Psychology of Handwriting).
All these results, demonstrative of the existence of a constant and characteristic substrate of handwriting, obtained from neurophysiological and psychological investigations, are applicable to the pertinent graphic for the obtaining of its practical objectives, and to the aid of technical methods, which are the accessory utilized to achieve those things.
ASPECTS TO STUDY IN SCRIPTURE
ASPECTS TO BE STUDIED IN DOCUMENTS 1 AND 2
DOCUMENTS TO STUDY
✥ Questioned Document (Doc. 2)
QUESTIONED DOCUMENT (Doc. 2)
✥ Unquestioned Document (Doc. 1)
UNQUESTIONED DOCUMENT 1 (UQD. 1)
UNQUESTIONED DOCUMENT 2 (UQD. 2)
IDENTICALITIES AND SIMILAR GRAPHICS
OF DOC. 1 AND DOC. 2
BASED ON TYPE-GESTURES
UNQUESTIONED DOCUMENT 1 (UQD. 1)
QUESTIONED DOCUMENT (QD.)
QUESTIONED DOCUMENT (QD.)
We have studied the UQD. 1 and UQD. 2 documents in their type-gestures as well as in the QD. document. The UQD. 1 and UQD. 2 manuscript is dated August 31, 1941.
The QD. manuscript is dated April 1, 1944.
TYPE-GESTURES are unconscious movements that the author of the manuscript repeats as something personal, which is difficult to imitate by another hand and less so in different circumstances as is the case with these two writings, which also have a difference in years.
Handwriting can vary in many aspects throughout one’s life, but there are traits called “type-gestures", which are innate, intrinsic particularities and graphical personalities that identify the author like a unique stamp, which do not usually change with the passing of time.
Identicalities and graphical similarities between QD., UQD. 1 and UQD. 2:
1. O: Sharp entry point descending to form an oval which rises, finishing the stroke in the interior of the same (punctured oval).
2. E: Entry point from above which descends, turning right to form a loop, descending to turn right and to form a second loop which ends with a final descending trait.
3. J: Entry point from below, forming a loop left, going right to form a second loop and down with a final encircling trait.
4. d: This is one of the most characteristic traits within the type-gesture since it is miniscule and appears constantly in all documents. This is an angular formation at the base of the oval with a short hampa and in a loop, descending up to the base of the body of the center to link to the next letter.
5. A: It consists in all cases of a long hook from the left in the initial stroke, forming an angle in the upper part and with a crossbar in an ascending angle.
6. f: Short and fine hampas to form a thicker and double line jamb.
7. N: Entry point from below to form an inflated loop and to continue with an arc in the angle that descends and attaches to the next letter in angle.
8. This word has a similar formation in both documents wherein the V-shaped "chicken wing" covers half of the word. The cross bars of t are long and to the right.
9. P: In all cases is carried out in two strokes, one on them being in the shape of umbrellas with a similar distance to the vertical line.
10. Y: A very similar letter to the capital J with a formation very similar to this, with an exit point which hooks to the left.
Next we will make superpositions of some samples of unquestioned letters with questioned ones, where it is observed that their creation was brought about by the same movement.
Using a negatoscope, a superposition of letters was made in which we can observe how the same ones fit together with their natural movement, since if they were exactly the same, we could think they have been tampered with. So we can see that between QD. and UQD. there are small differences of vibrations proper to the spontaneity of the handwriting.
IDENTICALITIES AND SIMILARITIES WITH REGARD TO VELOCITY
The classification of the manuscript, according to its speed, can be classified as: hasty, fast, measured and slow.
Unquestioned Document 1
Both in UQD. 1 and in QD. we can observe that both documents have characteristics of speed as spread out, tied together and simplified handwriting, with some inclination (to the right), progressive forward momentum, and cross bars of the t with predominance to the right.
IDENTICALITIES AND GRAPHICAL SIMILARITIES WITH REGARD TO COHESION
The cohesion affects the degree of bond between the strokes, which are able to be linked if it has more than four bonded letters, to be grouped in cases of three or four bonds, or to be detached, which can manage to present groups of two bonded or totally separated letters.
Unquestioned Document 1
In UQD. 1 and QD. we can see that both documents have characteristics of connected handwriting. Almost all letters appear in groups of four and five within a word, lifting the writing utensil only for punctuation, cross bars for t or marks.
In view of the above stated findings, it can be determined that, following an exhaustive analysis, there are qualitative and quantitative elements that:
✥ The Questioned Document, referred to here as the Unrevealed Third Part of the Secret of Fatima, was brought about by the same hand as that of the Unquestioned Document corresponding to the First and Second Parts of the Secret of Fatima, written in her own hand by Sr. Lucia dos Santo in her Third Memoir of August 31, 1941.
This determination has been made with the greatest possible objectivity, taking as much into consideration what can be favorable as what may be susceptible to cause injury to any parties involved, and I am aware of the penal sanctions that could be incurred if I were to disregard my duty as an expert.
This I testify, according to the best of my knowledge and understanding, in Madrid,
on December 8 of the year two thousand and sixteen.
BEGOÑA SLOCKER DE ARCE
Madrid, December 8, 2016