It is said that Queen Elizabeth II, a high priestess of the dominant reptilian-Illuminati bloodline, is the most commonly sighted shapeshifting reptilian in the world.
According to historians there have been sightings of reptilians around the world at regular intervals throughout history, however it is widely believed that we are now in a golden age of reptilian sightings. Experts are saying that in 2016 more people than ever before have developed the ability to witness shapeshifting.However it appears that a mysterious artist in the 16th century also had this ability. While painting Queen Elizabeth’s portrait – an ancestor of Queen Elizabeth II – the artist portrayed her holding a coiled snake, a medieval symbol of reptilianism.
As many a courtier fatally found out, it was never a good idea to displease the bloodthirsty ‘Virgin Queen’. This may explain why the artist carried out some serious alterations to his first draft portrait of Elizabeth I.
Where he had drawn the Queen clutching a serpent, the painter had second thoughts and substituted a much more feminine bunch of roses.
The revisions would have remained a mystery had it not been for the ravages of time.
Yesterday the National Portrait Gallery revealed how the image of the coiled snake had suddenly re-appeared.
Deterioration over the centuries has meant the serpent depicted in the Tudor monarch’s fingers in the original version has revealed itself once more, with its scaly outline now visible on the surface.
The portrait was created by an unknown artist in the 1580s or early 1590s.
The image has not been on display at the London gallery since 1921. It is hidden away in the bowels of the building, only bought upstairs into the light on rare occasions.
A serpent was sometimes used to reflect wisdom, prudence and reasoned judgment, but the scaly creatures are also linked to notions of Satan, original sin and reptilianism.
The gallery suggested the snake’s removal may have been due to the ambiguity of the emblem. An artist’s impression has been created of what the snake could have looked like, with infra-red technology revealing the changes in the initial design.
A statement from the gallery said: ‘The snake is mainly black but has greenish blue scales and was almost certainly painted from imagination.’
The image of the monarch covers a portrait of another woman, whose identity is unknown.
The gallery believes the unfinished portrait was by a different painter, showing how 16th century panels were sometimes recycled by artists.