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RED HERRING - DALE DASSEL TAKES A CLOSE LOOK AT THE REDHEADED FEMALE.

HYPOTHESIS:

The genetic code for the physical appearance of Celtic women has remained greatly unchanged throughout time, and can be readily identified by a number of similar features of modern women of Celtic descent, proving that the lineage remains unbroken to this day.

The Celtic lineage is one of the oldest in the world, yet few people of this bloodline are to be found in modern times.

In fact, it almost becomes a challenge to locate a person of pure Celtic origin. Through research and observation, I have managed to pinpoint certain physical characteristics that are indicators of a person of Celtic lineage. In this comparative study, I am going to describe and demonstrate the features that are predominant to women of Celtic descent.

The Celtic woman of ancient and modern times share many of the same physical features, the two most distinctive being red hair and extremely pale skin (another sign, though not always present, are freckles). But there are additional signs of Celtic ancestry that have been carried in the blood through the millennia since the Gauls and Celts ruled Europe thousands of years ago. In women of pure, unbroken Celtic lineage, we see strikingly similar, beautiful facial features.

The first example is Cyllene Wilson, a young woman who was orphaned in 1866 and adopted
by a famous female photographer.


	Cyllene Wilson 1		Cyllene Wilson 2

These pictures, taken in June of 1867, show a hauntingly beautiful portrait of a Celtic woman. In the side profile, you will notice that her hair is pulled back, showing the hairline set high on her smooth forehead. Note the way that the hair pulls away from the head and flows back. Also retained in Cyllene's clearly-defined features is the distinctive, delicately pointed nose. The shape of the nose and the high forehead, in combination with each other, are probably the two most prominent symbols of Celtic lineage outside of having red hair and pale skin. They are elegant, classic, almost sculptural characteristics. Even though nearly two centuries have passed since this tin-type picture was taken, one can still see the freckles on her complexion.
The second picture is a full-face study of Cyllene. Her hair is slightly covering her forehead in this shot. Our attention is immediately drawn to her thoughtful, pensive expression. Her soft eyes lend a bearing of quiet confidence to her face, and her lips are pursed in a delicate V, as she meets the viewer head-on. The shape of her lips and mouth is distinctly Scottish, and her jaw line is soft, but strong. The overall effect is that of a heartbreakingly beautiful and simple young woman.

Cyllene was probably in her early twenties when these pictures were taken.

Our second example is actress Vicki Lewis. First off, the surname Lewis is Irish in origin, so we are immediately aware of her homeland.


Vicki Lewis 1		Vicki Lewis 2		Vicki Lewis 1

The first picture is a right-side profile of Vicki taken in the mid-1990s. Her curly, shoulder-length red hair seems to dominate the picture and it draws our attention away from everything else. We can see the drastic contrast of her pure white skin from the fiery red color of her hair. In this frame, Vicki has bangs which cover most of her forehead, but we can still see how her forehead leads down to the prominent, delicately-pointed nose, and that her chin has the exact same shape as Cyllene's. This proves my main point: that it doesn't matter whether decades, centuries, or even millennia pass, the genetic code for Celtic facial features remains almost completely unchanged. Vicki is an exceptionally good example of a Celtic woman because of how clearly defined her features are.

The second picture is a close-up of her face. Here we can see the high forehead, the shape of her face and jaw, and the sharp curve of her nose. And again one can note the soft eyes and pleasant smile. We also see her red eyebrows, which neatly arch across the crest of her brow. I read that for some reason, Celtic women used a dye called ruan to darken their eyebrows so that they would stand out better. No doubt this gave them a more menacing appearance when they were angry.

Another practice which some Celtic women underwent was to soak their hair in lime water, which bleached all of the red out of it. I find this deeply disturbing for some reason. Why would they ever want to do that to their lovely, fiery red tresses? In any case, it is a practice that I find abhorrent, and I highly discourage any redhead from doing this. Please do not hide your natural, God-given radiance. It's what makes you unique and sets you apart.

Our third subject is Lindsay Lohan, a fourteen year-old actress. She is a good example of
a developing Celtic woman.


	Lindsay Lohan 1		Lindsay Lohan 2		Lindsay Lohan 3

In the first picture of Lindsay, you can clearly see the high forehead and the way her hairline grows out. She also has the classic Celtic nose, but it is not fully-developed yet because she is still growing. Please note the cute freckles on her face, extending from the bridge of her nose outward. Also present are the neatly cresting eyebrows.

The second picture of Lindsay is a left-side profile of her face. Here, the forehead, nose, and chin are better defined than in the first frame. Here, you can see the exact same facial features as Vicki Lewis and Cyllene Wilson. Also note the paleness of her skin, although the freckles are not present. This is most likely due to the fact that exposure to the sun has the ability to bring out freckles, and they have a tendency to disappear after being indoors for awhile. This phenomena is especially common in children and young people. By the time a person is in their mid-teens, all of the freckles that they will ever have will be present and accounted for.

The third photo of Lindsay is a quarter side view of her face. Again we see the freckles, the high forehead, thin, arched eyebrows, and the distinguished nose. She also has a really neat smile, somewhat similar to Vicki's. Lindsay is a very beautiful young lady who will undoubtedly develop into a fine Celtic woman.

Natanya Ross is the next developmental stage from Lindsay Lohan.


	Natanya Ross 1		Natanya Ross 2		Natanya Ross 3

Natanya is in her late teens or early twenties. The first time that I saw her on television, I was immediately struck by how strongly she resembled Vicki Lewis. Of course the obvious goes without saying, that all women of pure Celtic blood have the same basic physical makeup. Natanya is no exception. In the first and third frames, she has her hair parted down the center and pulled back, revealing the high forehead. I'm not sure if it is the lighting in the pictures or whether she did something to her hair, which is muted from its natural bright red color (see center panel).

Natanya has the same basic face shape as Cyllene and Lindsay. Also present is the same chin and jaw structure, as well as the thin mouth (compare Lindsay, frame 1 to Natanya, frame 3). The similarities are remarkable, and serve to reinforce the hypothesis. Again we can see the pale, almost translucent white skin, which resembles delicate porcelain. Natanya lacks freckles, which are not present in every Celtic woman, although they are indelibly encoded in the Celtic gene, which contains a fixed tri-part code for red hair, pale skin, and freckles. Also contained in these genes is the program for basic facial structure.

Our final example is Celtic musician Loreena McKennitt.


	Loreena McKennitt 1		Loreena McKennitt 2		Loreena McKennitt 3

Loreena is Celtic and she knows it. Her last name begins with the prefix 'Mc', which is undeniably Irish or Scottish. Loreena is in her early forties, and has finely-chiseled features. The first and third frames are direct head-on pictures of Loreena's face. The first frame is in full-color, and we may note the extremely pale skin, framed by cascading orange hair. Her eyes are gray, just like Vicki's and Lindsay's. Gray eyes are the most common for Celtic women, seconded by blue and green, although I'm sure that for all of their likenesses, they probably have a variety of eye colors.
In frame 2, Loreena is looking to the right. You can see the prominent Celtic nose, and the smooth jaw shape. Like Natanya, she has muted her hair color, albeit not with lime water! She has bangs which cover most of her brow, but she undoubtably has a high forehead. Overall, Loreena is the consumate Celtic woman, embodying every single aforementioned aspect: pale skin, fiery red hair, prominent nose, high forehead, firm jaw, and thin eyebrows. The portrait that she presents is one of quiet dignity and pride in her heritage. Every Celtic woman should take note and try to emulate this.

CONCLUSION:

The evidence presented above clearly demonstrates that a definitive set of identical physical characteristics exist that are clear indicators of Celtic lineage. These traits can be used to identify women of pure Celtic blood, who are the most perfect, beautiful and ethereal women ever created on the face of the earth.

In our world, with all of its remarkable diversity, there is an underlying sense of uniformity, or 'normalness'.
The lineage of the ancient Celts remains, but is represented by a drastically small number of the earth's population. But this select group of people outshine everything else with the shocking contrast of their flame-like hair (which ranges from dark red to bright orange) and almost bloodless white skin. Their lineage is what makes them so special and unique. It is a sad fact that most people fear or ridicule things that are different or that stand out among all else. This prejudice is responsible for the small number of Celts that we are fortunate to have with us. Society and popular culture have fabricated a picture of the "ideal" and "attractive" female, and Celtic women, with all of their fire-tressed, wraith-like glory, are too often overshadowed by it. I fear for the era when there will be no more Celts remaining. When this somber time comes to pass, the world will be left a darker, more bleak place to live.

I hope that I do not live to see it.

© Dale Dassel 2001