Message 6 of January 3, 1946

In his teachings, Christ often uses images from the visible world to illustrate certain aspects of Heaven. The messages of the Lady of All Nations are similar – they draw on history, symbols, and analogies intended to help us better understand spiritual reality and God's plan for the world.
In this message, the situation in the Church is compared to the times of Joan of Arc – a historical figure who played a significant role in both spiritual and political life for France in the Middle Ages. To fully understand this analogy, we must first understand the historical context.
At that time, France and England were engaged in the Hundred Years' War (1337–1453), during which the English were conquering further territories in northern France. In 1428, the English began the siege of Orléans, a strategically located city on the Loire River. The fall of Orléans could have opened the way for the English to enter southern France and seriously threatened the independence of the entire country.
At this critical moment, Joan of Arc appeared. A woman full of faith and courage, she mobilized the French into battle, and at the head of the army, contributed to breaking the siege of Orléans in 1429. Her actions boosted French morale and paved the way for further military successes, which ultimately enabled the coronation of Charles VII in Reims and the restoration of French sovereignty. Although the Hundred Years' War continued for many years, Joan of Arc's role was crucial in turning the tide of the conflict and strengthening the nation's spirit.
Returning to the context of the entire message, we see that the Catholic Church here symbolizes France, which the Anglican Church—symbolizing England—is attempting to dominate, seeking to impose its laws and rule. The Catholic Church is also a symbol of the Holy Land, and the besieged Orléans becomes a counterpart to Jericho, a key city on the Israelites' path to conquering Canaan. In Orléans, however, the situation is reversed: evil, previously repressed, returns, threatening the Church and the community.
The messages of the Lady of All Nations call for the Cross to be placed back at the center of a world once again dominated by sin and false gods. In the time of the Israelites, Joshua fulfilled this task, leading God's people to victory over their enemies. Later, Christ, on whose foundation the new Church and God's people were founded, arose. Jesus, however, did not fight with a sword, but rather enlightened people with his teachings that brought peace, love, and mercy. Christ showed us that evil must be driven from the human heart with words, not with the sword.
Today, in the face of the infiltration of the false doctrines of the Anglican Church into the Catholic Church, Ida Peerdeman is at the head of the spiritual "army." Like Joan of Arc, she is to purify the Catholic Church for God. Recall that Joan of Arc received visions of St. Michael, who instructed her on what to do—analogous to Joshua, to whom the Angel of God appeared. In the case of Ida Peerdeman, it is the Lady of All Nations, the incarnation of the Holy Spirit, who indicates what is good and what is evil and what people should pay attention to.
The Lady foretells a coming spiritual war that will engulf the entire world, including the Catholic Church, which is under attack from all sides – including by other Christian denominations that have, in practice, strayed from the teachings of Christ.
It is also worth noting the parallels between Joan of Arc and Ida Peerdeman. Joan of Arc, known as the Maid of Orleans, was someone whose virginity was confirmed by a special church commission. She never had a husband or children, and devoted her entire life to a cause in which she believed God was guiding her. Similarly, Ida Peerdeman did not have a family, focusing her life on serving God through a mission related to the messages of the Lady of All Nations.
Similarly, the motif of the "Hundred Years' War" fits even more clearly into the spiritual context of the relationship between the Catholic Church and the Church of England. In Joan of Arc's time, France was under the jurisdiction of the Pope and an integral part of the Catholic Church. Using this historical image, the Lady of All Nations points to the dangers of ecumenical dialogue, which can—rather than foster unity—weather the community of the Catholic Church and blur its identity.
With hindsight, many of these warnings seem to be coming true. The Catholic Church is witnessing processes leading to a weakening of the traditional understanding of the papal office, the growing influence of Protestant movements, demands for the abolition of celibacy, and tendencies to diminish the importance of the holy sacraments, especially the Eucharist.
 
Like Joan of Arc, Ida Peerdeman is called to work for the establishment of the one, rightful King of the world—to once again place the Cross and Christ at the center of humanity.
It should be remembered that Joan of Arc's mission was to unite France by bringing about the coronation of King Charles VII in the Cathedral of Reims, the traditional site of all French monarchs. It was the coronation in Reims that boosted the nation's morale and restored its sense of identity, ultimately enabling the expulsion of the enemy from French territory.
In the context of Ida Peerdeman's apparitions, the Temple of the Lady of All Nations—which Mary requested to be built—symbolically corresponds to the Cathedral of Reims. It is here that the spiritual coronation of the one rightful King, who is to unite and reconcile all the nations of the world, is to take place.
The Lady of All Nations clearly demonstrates the desire to unite humanity in a single spiritual community based on peace, respect, and unity. It is worth noting that in the Gospel, Christ sends 72 disciples to proclaim the Good News. This number is not accidental—in ancient times, the world was believed to consist of 72 nations. Thus, Jesus sends his disciples to all humanity, and Mary, as the Mother of the Savior, desires to be called the Lady of All Nations.
In the vision, Ida Peerdeman sees King Charles VII approaching the Cathedral of Reims with his squires. In the apparitions of the Lady of All Nations, however, there appears the image of a procession of people following a priest carrying the Eucharist, heading to the site designated by Mary for the construction of the Temple of the Lady of All Nations. This scene alludes both to the "Mirakel" procession, mentioned earlier, and to Christ's solemn entry into Jerusalem, when Jesus assumed his spiritual dominion over the world.
Christ's kingship is not political in nature, but spiritual. It is he who is to guide the world through the contemporary ideological and moral chaos, liberating humanity from the influence of sin and falsehood. Jesus, as Leader—following the example of Joshua—leads his people to victory in the spiritual battle between good and evil.
In this symbolic image, history and spiritual message intertwine, revealing the meaning of Ida Peerdeman's mission and her role as an instrument in the hands of the Lady of All Nations—just as Joan of Arc was an instrument in the hands of God for her time and her nation.
 
The message also mentions the Bourbon family, so it is worth recalling who they were. Under King Charles VII (r. 1422–1461), the Bourbons were one of the most powerful and influential aristocratic families in France. They descended from a collateral line of the Capetian dynasty, and although they had not yet ascended to the throne—kings from that dynasty did not appear until 1589—they had already played a significant political, military, and territorial role in the 15th century.
The most important representative of the family during Charles VII's reign was Jean II de Bourbon, Duke of Bourbon from 1410 to 1488. He was a close relative of the king and his trusted ally during the Hundred Years' War. This changed when Charles VII, upon assuming de facto power, sought to centralize power and limit the autonomy of the great families that owned their own lands and armies. John II de Bourbon refused to relinquish his privileges and ultimately rebelled against the king, entering into an alliance with the Burgundians, who, although French, sided with England at the time.
The name of the Bourbon family appears in the vision, along with the statement, "This is for later." Analyzing the historical events between Charles VII and the Bourbons, one can discern a symbolic motif of betrayal within one's own nation. In the context of the Apparitions of the Lady of All Nations, this can be interpreted as a foreshadowing of the betrayal of Christ and the Lady of All Nations by some members of the Catholic Church hierarchy.
Similar symbolism appears in the story of Joan of Arc. It was the French bishop Pierre Cauchon who condemned her to death by burning at the stake, driven by political and ambitious motives in favor of England. He wanted to maintain control of the diocese of Beauvais, and therefore likely served English interests. Similarly, as the message suggests, Christ and the Lady of All Nations could also be betrayed by some members of the Catholic Church hierarchy.
In this light, it is worth examining which of the higher clergy demonstrated particular openness towards the Church of England while simultaneously opposing the apparitions of the Lady of All Nations. It turns out that Pope Paul VI, mentioned earlier, was the first pope since the schism to officially meet with an Anglican bishop. Moreover, he actively supported ecumenical dialogue with the Church of England and in this respect distinguished himself from his predecessors.
At the same time, Paul VI opposed recognizing the apparitions of the Lady of All Nations. He reaffirmed the opinion non constat de supernaturalitate issued by Bishop Huibers and the Congregation for the Doctrine of the Faith. As early as the 1960s, he reiterated that the Church did not recognize these apparitions as supernatural. In this sense, one could say that Pope Paul VI, in a sense, "deadened" Ida Peerdeman and the message of the Lady of All Nations, just as Bishop Pierre Cauchon brought about the execution of Joan of Arc.
 
Another point worth mentioning is why the Lady of All Nations so insisted that the Dominicans be the ones to handle the image of the Lady of All Nations and her messages.
It turns out that the Dominicans were present both at the sentencing of Joan of Arc—participating in the commission that condemned her—and at her death, accompanying her in her final moments. Recall that it was the Romans who condemned Christ to death and later assumed responsibility for the Catholic Church, whose capital is the Vatican, located in Rome. Since the Dominicans participated in the sentencing of Joan of Arc, it was their duty to take over her care after her death. And as we see, although Joan was initially condemned as a heretic, she was later, thanks to the work of the clergy, posthumously exonerated of all charges.
Following this line of inquiry, we come to the figure of Ida Peerdeman. Her spiritual guide was the Dominican Father Frehe, who accompanied and supported her during the apparitions of the Lady of All Nations. However, he later distanced himself from her. It was similar with Joan of Arc, who was first supported by priests and later abandoned by them, even condemned to death.
In this light, Father Frehe's turning away from Ida Peerdeman can be read as a symbolic reminder of an event from two thousand years earlier—when the apostles also distanced themselves from Christ, and one of his disciples, Judas, betrayed Him for pieces of silver.
 
In the context of Joan of Arc, Ida Peerdeman's vision, discussed earlier, also takes on a deeper meaning. In that image, Ida noticed that the Cross had slipped from her hand, and her hand had clenched into a fist. When she looked at her hand again, the Cross reappeared. To properly interpret this symbolism, it is worth recalling the details surrounding Joan of Arc's death.
As Joan was being led to the stake, she asked to be allowed to hold a cross. One of the English soldiers hastily fashioned one from two sticks and handed it to her. While being tied to the stake, the cross was taken from her, and her hands were tightly bound, forming clenched fists. Joan then asked one of the Dominican priests to bring her a crucifix, which she could gaze upon until her death. Her request was granted: the cross was placed right in front of her.
This juxtaposition demonstrates the multifaceted nature of the images Ida Peerdeman saw, and how they merge into a single, symbolic whole. The motifs of the lost cross, the clenched hand, and the regained cross have historical resonances in Joan of Arc's final moments. At the same time, they convey a spiritual message: those who persevere in the cross to the end will live in the world to come.
When we look at the image of the Lady of All Nations in light of this particular message, we see her standing against a wooden stake, which—thanks to the crossbar—takes the form of a cross. The Lady is depicted as a spiritual figure, with her hands free from any bonds. Behind her spreads a light reminiscent of the fire that accompanied Joan of Arc's martyrdom. It is also worth noting that in the image of the Lady of All Nations, her appearance seems to correspond to Joan of Arc's age at the time of her martyrdom, approximately 19 years old.
This image has a deeply symbolic meaning. The Lady indicates that to possess eternal life, a person must "burn" in the fire of the Holy Spirit—a fire that does not burn, but purifies, transforms, and sanctifies.
It is worth recalling that Joan of Arc was posthumously canonized as a saint of the Catholic Church. In the hagiographic tradition, there is a principle according to which the attribute of a saint becomes that for which he suffered martyrdom. Thus, for example, St. Bartholomew, who—according to tradition—was flayed alive, is depicted in icons holding a flayed skin and a flaying knife.
For the same reason, St. Joan of Arc's attribute is fire—the element in which she ended her earthly journey. When we look at the image of the Lady of All Nations, we see beams of light emanating from her hands, resembling fire. However, this is not the fire of destruction, as we have already said, but the fire that gives grace and life—the fire of the Holy Spirit.
Just as fire is an attribute of Joan of Arc's martyrdom, in the case of the Lady of All Nations, we see that the fire of the Holy Spirit is her own attribute. It is from her hands that beams of light issue, the graces she shares with people. This is not a fire that burns, but one that illuminates the path to God, revealing the difference between good and evil. In this light, Ida Peerdeman reflects the figure of Joan's squire. However, in the broader context of the apparitions, Ida Peerdeman is to play the role of a new Joan of Arc, thanks to whom Christ—the one true King—will stand at the center of the world, and His coronation will take place in the Temple of the Lady of All Nations, symbolically reminiscent of Reims Cathedral. In this view, the Angel of God is the Lady of All Nations, giving guidance to Ida Peerdeman, following the example of Joshua and the Angel who appeared to him just before the battle to drive evil from the Holy Land.