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  You are here: world-mysteries.com » guest writers »  dan green








  


      
Dan Green

Guest Writers


World-Mysteries.com presents these articles by Dan Green:

Callum Jensen (Dan Green - author of 'The Lincoln Da Vinci Code' and 'The Lincoln Da Vinci Code and the Mystery of Rennes-le-Chateau')


Hello there, and greetings from Lincoln, England. As author on two book concerning the Cathedral Code at the Gothic Cathedral of Lincoln and its connection with the mystery of Rennes-le-Chateau, my ongoing research appears to have solved the mysterious head worship of the Knights Templar and the puzzling panel painting at Templecombe which held the clue.
 

Lincoln, England - the New Jerusalem ?

by Dan Green (Callum Jensen)

No serious catalogue of world mysteries would be complete without the inclusion of the historical Knights Templar, the Order of warrior monks who may be the guardians of a secret location containing the Holy Grail, a term that has now moved away from being simply a dish from the Last Supper to, instead, a secret that could expose deliberate religious and political cover-ups throughout history...the search for this truth rather like seeking out a needle in a historical haystack..

A Knights Templar

The Knights Templar were formed in 1118 to defend Jerusalem and had a reputation second to none until 1306 when King Phillip of France who had wanted to join this rich and powerful Order, to whom he owed a large sum of money, had been refused . His envious and jealous response to being unable to join and to continue owing the money, was to trump up charges against the Templars claiming they were blasphemous, devil worshippers - especially of worshipping a strange head - and sexual deviants, the Order consequently being persecuted, prosecuted and dissolved. In 1144 The Hospitallers of St John of  Jerusalem, something of an offshoot of Knights Templar, were created to protect Christian pilgrims traveling to Jerusalem, faring better until they disbanded in 1540.

The enduring attraction of interest in all things Templar is owed to a persistent belief that at some point in their evolution a hidden function of the Templars were given the duty of protecting a great secret which researchers have usually claimed has it roots in France, and more recently, Scotland, but it may now be that the biggest secret of all has been saved to last, and is beginning to unfold at the Gothic Cathedral of Lincoln where Templar Preceptories once where at nearby Temple Bruer, Willoughton near Gainsborough,South Witham and Aslackby near Sleaford.


Lincoln - the New Jerusalem?


Temple Bruer
 

Discoveries during the Crusades intimate that the Knights Templar were the missing link in a chain of transmission of secret architectural knowledge and that they were greatly instrumental in the specific design and building of certain Europena Gothic Cathedrals to exemplify the principles of Sacred Geometry, a resonance with divine harmony in the numerical construct of design, stone decorations being astrological in nature with hermetical symbology abound.

At Lincoln Cathedral there is even reason to believe that the magnificent Rose Window is actually a 'Star Clock' - an atlas of the Northern constellations, numerous symbology within the Cathedral apparently drawing attention to the Dog Star, Sirius. At the scene of The Last Supper, at the Great East Window, instead of there being a cup or bread upon Christ's platter, we see a dog!


Dog on the platter, Great East Window, Lincoln Cathedral

An aerial view of the Cathedral shows it to be in the shape of the Cross of Lorraine, the original insignia employed by the Templars as a device. A Code in the Cathedral dubbed 'The Lincoln Da Vinci Code' now reveals links with the global mystery of Rennes-le-Chateau, complete with a precise location within the Cathedral grounds that may well contain the famed and historical lost treasure of the Templars, thought to have legendary Grail connections.


Lincoln Cathedral sacred geometry


The Cross of Lorraine

Only a few miles away from this location is the puzzling place name and small village of Jerusalem. Not surprisingly, there is no other place name like it in Britain, and Lincolnshire's local libraries, Council archaeologists and even the Internet are at a loss of information to explain why it should be so named! ( A person tracing their ancestors confirmed its existence at least as far back as 1436). One possible explanation is that it has something to do with Jewish settlers, as Lincoln was in fact home to one of the most important Jewish communities in England, being well established before noted in 1154, until their ignominous expulsion in 1290.


Author Dan Green visits Jerusalem


It is believed that even the Catherdal was at one point in monetary debt to their money lenders, and St Hugh, Patron Saint of the Cathedral, was famed for his defence of the Jews.
The only other probability is that the village had some Templar connection, especially when we bear in mind the full title of the offshoot Hospitallers. Most lately, concerning the Rennes-le-Chateau mystery, much fuss has been made with the announcement of a maquette, a model map showing two locations,and which was allegedly commissioned by key figure, the priest Berenger Sauniere, two years before his death in 1917. French researchers have been quick to claim that the maquette shows landscape around the region of Rennnes-le-Chateau, but have turned a blind eye to the title of the model....it is 'Jerusalem'. Clearly, it does not show the Holy city in the Middle East that the Templars were created to defend. What if the reference is to the mysteriously named Jerusalem in Lincoln? Ancient maps of Lincolnshire are now being investigated to overlay the maquette to see if indeed it will lead to the 'Lincoln Da Vinci Code' suspected Templars treasure location. It is also interesting to note, that in Roman times, like Jerusalem, Lincoln was an actual walled 'city'.'

Copyright by Callum Jensen ('Dan Green').
Presented with permission of the author.


Lincoln Cathedral, Starry Guardian of the Chateau at Rennes

by Dan Green (Callum Jensen)


Rennes-le-Chateau

As a long term researcher into the enduring global mystery that began at Rennes-le-Chateau , in an attempt to try solve at least a part of whatever is the conclusion of the enigma, I have tried to explore every possible aspect, my starting point being somewhat original, having drawn attention to parallels between the famous village and the Gothic Cathedral of Lincoln in England, on the ground and finally leading up into the starry heavens.


Lincoln Cathedral

Having had what on reflection appears to have been something of a puzzling destined visit to RLC in 1986 involved some interesting adventures there, including the discovery of a rock crop tomb sealed at two points of entry not too far away from Les Labadous, home of the authoress Elizabeth Van Buren who also had stumbled across this tomb, visiting it to sprinkle holy water and call it her special place. Contemporary Godfather of Sacred Geometry, David Wood also knew of this tomb, and apart from our young French guide Daniel who still lives in the Rennes environs, I wonder who else knew at the time or even now of this location which has a stone marker nearby and a babbling stream that you swear you can almost hear whisper. Leonardo Da Vinci in his version of Virgin of the Rocks (Mary without halo) paints it as an incidental inclusion at the top of his work.

My visit to Rennes left me musing my original major comparisons – how here was a church dedicated to Mary Magdalene at the top of a high hill, and containing a demon guardian statue.


Asmodeus - Rennes Guardian demon

Back in Lincoln, at the Gothic Cathedral, high up a hill until 60AD there stood a church dedicated to Mary Magdalene, shamefully knocked down to make way for the Minster in 1097 which would in the 13thc introduce its own Demon Guardian, the notorious ‘Lincoln Imp’.


The Lincoln Imp - Demon Guardian

Three quite unique similarities there, I thought. Then, in 2005 it was discovered that at the scene of the Last Supper at the Great East Window of the cathedral , having gone unnoticed since the windows were placed, there sits a dog on Christ’s platter, rather than a loaf of bread or glass of wine! Deciding to collect up any other anomalies within the Cathedral, I soon found out our canine friend reappears a total of three times, and when my collection was complete the ‘Lincoln cathedral code’ was born, synchronizing perfectly with the many clues associated with the Rennes mystery in France. We had a pregnant shepherdess, clues relating to painters Poussin and Teniers, the enigmatic ‘681’, the ‘horse and cross of God’ , our demon guardian friend, and the phenomenon of ‘blue apples’ whereby the sun striking through a pane glass on a specific time-date causes the dancing, dappling effect upon a key area.


Blue Apples at Rennes


Blue Apples at Lincoln Cathedral

Assembling all these clues into a sequential paper chase led to a precise spot at the burial grounds of the shepherdess St Margaret, opposite the SE corner of the Cathedral where once stood Margaret’s church demolished in 1781 to parallel the same year of the death of Marie de Negre who almost certainly knew the Rennes secret. Attempts to GPR scan under this location where a tomb belonging to the Rayner family stands were initially granted by cathedral authorities only for them to later renege and go silent without any believable explanation.

Another parallel aspect between RLC and Lincoln cathedral is almost as puzzling as the entire mystery itself! Readers of the best selling ‘Holy Blood, Holy Grail’ will be well aware of a what is held to be a spurious document ‘The Dossier Secrets’, deposited in the Bibliotheque nationale de France in 1967 - purporting to be part of the history of the Priory of Sion - and it turns out that the Lincoln Cathedral Code has its own!

A reader of my initial book ‘The Lincoln Da Vinci Code’, who was living in Grantham and who was a student of Victor Hugo – allegedly the second last Grand Master of the Priory of Sion – told me I should be getting myself to the Library in Grantham, for there they held a most curious 30 page document deposited in file that had been in their safe keeping since 1917, interestingly enough the same year that Parish priest Berenger Sauniere , curator at Rennes and who was singularly responsible for the birth of the RLC mystery, died. Entitled ‘The Quest’, handwritten and illustrated, it claims to be the handiwork of France’s most famous novelist, although having compared the calligraphy, it clearly isn’t! Hugo was exiled from France in 1855 –the very year that the window at the Great East Window at the Cathedral was installed - and lived in Guernsey until 1870. There is no official record that he ever frequented England. This encounter of a Quest also surfaced in a magazine the ‘Lincolnshire Highlights’ in 1983, the first five pages presenting itself as a search for a ‘lost cathedral and city of Wyville’, as opposed to the small actual hamlet of Wyville where the quest starts, and which is situated SW of Grantham on the Lincolnshire/Leicestershire border not too far from a Knights Templar preceptory that once existed at South Witham and where in 2008 I found a hidden 14thC coffin slab relating to the panel painting Head at Templecombe.

This fantastic if spurious account ends at the top of a hill with a spring head, five houses and the word ‘thalassa’ which is rather intriguing as the Lincoln Cathedral Code quest also ends at the top of a hill that once had five houses and a (lost) spring head. The word ‘thalassa’ is actually one of the meanings assigned to the name Mary in Martianay’s edition of St Jerome’s works 1699. ‘Pikra thalassa’ means ‘bitter sea’ based on the assumption that the name ‘Miryam’ is composed of the Hebrew words ‘mar’ (bitter) and ‘yam’ (sea) The translated inscription upon the headstone of Rene d’Anjou’s ‘La Fountaine’, that some researchers involve in the RLC mystery, mentions bitter water. Amidst the cryptic 30 pages are numerous passing references including ‘a stone coffin at present lying in the small churchyard, its date not later than the 12th century’...’the hidden story written in the stones’...’and what kings sat throned upon that hill’. Two poems are also in the library file, one entitled ‘The Quest’ also, from 1917 initialled H.P., and another ‘To Wyville’, this search starting as far away as in Scotland, no less! ‘The Quest’ allegedly written by Hugo appears to be a search for a lost cathedral, and I wonder is this the ‘lost’ Cathedral of the Magdalene given that Lincoln Cathedral may have been secretly known to be dedicated to her and not the Virgin Mary. Is the stone coffin and the churchyard references hinting at the actual St Margaret’s burial grounds where until, 1781 it stood, where ‘For Dagobert II King and for Sion is this treasure and it is death’ as reads one of the RLC parchments? Is the story written in the stones referring to the many anomalies of the architecture of Lincoln Cathedral that parallel with RLC, and does ‘what kings sat upon that hill’ mean lost Rose-Line descendants? Apart from ‘The Professor, who first heard of Wyville, a man who digs for earth’s treasures’, the most interesting figure mentioned throughout the account is referred simply to simply as ‘The Padre’..very Sauniere-like! I suspect that this lost ‘Wyville is a Masonic play-on word for ‘Wife Hill’, the hill upon which something belonging to Jesus’ wife Mary Magdalene belongs. The word ‘Wye’ almost certainly originates from the Old English ‘weoh’ meaning ‘idol shrine’. Strange stuff indeed. Interested readers can see the file for themselves at the Grantham library even though the puzzled library themselves cannot offer any information as to who donated the items or exactly when. To conclude this strange parallel with RLC and the ‘Secret Dossier’, Grantham Library resides inside the Isaac Newton Shopping Centre with his statue facing it outside, Isaac himself an alleged Grand Master of the Priory of Sion from 1691.

Having had enough of stuff on or under the ground that seem to indicate resonance between Rennes and Lincoln, I felt it was high time to investigate any possible links involving the starry heavens. As this was way above my head (pun intended) and beyond my abilities, I sought the aid of a far more capable individual by way of a mathematician by the name of Greg Rigby who had already contributed to the Rennes saga by way of having discovered pentagonal geometry in Poussin’s ‘Shepherds of Arcadia’ masterpiece – key to the RLC mystery, and in 1996 having written a book entitled ‘On earth as in heaven – Revelation of French cathedrals’, in which Greg announced that the ancient Celts established holy sites in Northern France reflecting on the ground the constellation Ursa Major with its handle pointing to Rennes-le-Chateau as Polaris, the Pole Star. As our starting point, Greg came over from Florida to precisely orientate and align Lincoln Cathedral for me and with the aid of his computer software, astronomical star maps , co-ordinates and alignments, set about to discover what secrets the Cathedral may have been hiding and if we could correlate it with what was known over at Rennes. All Gothic Cathedrals have their Rose Windows at the West – not at Lincoln though! Here we find it placed at the North, disguised as a Northern ‘Star Clock’ whereby if the glass were removed and one were to stand in a certain position within the Cathedral at night one would see the revolving northern constellations including Ursa Major.


 'Star Clock', Lincoln cathedral Copyright crichtonmiller.com

Not surprisingly to me at least, there was something of a significant discovery. The star that is reflected on the ground by Lincoln cathedral is Arcturus, found in the constellation of Bootes and the third most brightest in the night sky. Arcturus is the ‘Guardian of the Bear’ that is Ursa.

Arcturus, Guardian of the Great Bear

January 17th is a most celebrated date in the RLC Mystery. Not only is it a date when it is alleged certain key figures including Sauniere died, it is also the date when at mid-day the phenomenon of the ‘blue apples’ occur in the small church and confirm a part of a coded cipher, the sun striking through a small pane to create the impression of blue apples joining red ones – red and blue circles – that slowly moves along to settle upon the altar and later a statue of Saint Anthony the Hermit. Lincoln Cathedral is a veritable orchard of blue apples all year round courtesy of its decorative Southern windows, this phenomenon, by contrast with Rennes, falling upon a crucial location relevant to the Cathedral code at mid-day on 22nd July, Feast of the Magdalene, dancing alongside the tomb of Queen Eleanor of Castille who stands high up the SE corner of the Cathedral in direct line, pregnant, and staring over at the Lincoln Cathedral Code location at the burial grounds of the shepherdess Margaret. What is most important, however, is that at mid-day at the Cathedral on 17th, Not only is the constellation of Ursa Major overhead, but the Cathedral altar faces directly at Arcturus and resonates with St Anthony at the Chateau when we learn that Kabbalists associate the star with the 9th Tarot Trump, the Hermit. The Cathedral initially drew my attention with it’s dog symbology to ponder if it may be a concealed Temple to the dog star Sirius, but Greg and I struggled to find any confirmation and it may possibly just be drawing reference to the blazing star known to be Sirius that is found in Masonic Lodges given that the structure was laid out to Templar influence, as was the very structure of Masonry. However, according to ancient China the stars of the Great Bear associated with the celestial Palace of the Lord on High, Star God of Longevity, the Heavenly Mountain, Paradise of the immortals, and Sirius the Heavenly Wolf guarded this celestial Palace. Utterance 302 of the Pyramid texts found on the Northern face of Unas’ pyramid also provides a link that may exist between the heliacal rising of Sirius and Ursa Major.

With Arcturus the Guardian of the Ursa bear of which the Chateau is the Pole star of the constellation, I wonder that I may be right that the Gothic Cathedral reflecting it on the ground is indicative of also being its guardian, and therefore would also be guardian of the ‘treasure’ that Rennes announced to the world via the priest Sauniere.

Copyright by Callum Jensen ('Dan Green').
Presented with permission of the author.

* * *

Glastonbury Tor - Did a Portal Open on 26/02/07

by Dan Green (Callum Jensen)

The Tor at Glastonbury is a natural 520’ conical hill set in the Somerset landscape, its legends and accolades are many ranging from a faerie hill, the Entrance to the Underworld of King Gwyn Ap Nudd, a global energy point where ley lines cross, and tales of people being suddenly levitating whilst up there, as sworn by a group of Buddhist monks in 1969.So many are these stories that is really is difficult to attempt writing anything refreshingly new.

A book in 2005 by author Nicholas Mann who lives in the area, ‘The secret energies of Glastonbury Tor’ goes some way to trying to explain with a scientific approach electro-magnetic vortices at work, Can this hill justify the wondrous tales of colored lights seen emanating from it, earth lights that can spiral, the least optical phenomenon associated with any self respecting fairy hill?
I personally know of two friends, who, individually on separate occasions have experienced what they describe as a ‘beam’ come down from the sky and pass from their head right through their body. And so it goes on!

The opening of a Portal?

Close up of Portal

If it is an energy point then one fact that people of Glastonbury can’t be denied is that every year the rock music festival that first started in 1970 now draws into to the small town approximately 180,000 visitors camping out over its three days in June every year - that’s a lot of energy to soak up! Now, as much as I would like to dismiss all these tales as mere romance and declare the hill simply that - a hill and nothing more - I have to admit on a personal level that I can’t! Since 1984 I have had and have a strange relationship with this hill, like no other place I have visited, it is almost as if it draws me to it. And if that were true in any sense, for what purpose? I first went there at about 4pm on October 30th 1984, approaching the ascension from the far end of the Tor.

As I began the steep climb, a small breezy wind came out of nowhere, growing stronger and stronger as I made my way up. By the time I had reached the top, it was blowing a private gale! ‘Some welcoming committee’, I thought to myself, as in those days I was well immersed in Theosophy and how geographical areas can have elemental guardians called Devas, or landscape angels. The Tor is associated with a wind that can whip up and can even blow people from its summit. Accepting this baptism, I returned again that night as had been my original intention, setting off up there at 11.30pm and intending to stay until the hours moved into 31st of All Hallows Eve where we are assured the veil between worlds thin, as far as our calendar is concerned. As an impressionable, young scientifically minded intrepid and investigator, where better to be at a time where worlds may merge, than upon a faerie hill! With the absence of any wind, I was no sooner up there when a silent silver streak at a height of above four feet above my head flashed from left to right a short distance! Minutes later, along came more phenomena – a speedy bombardment on either side of the top of the slopes of what I must describe as grey ‘ping-pong’ balls, lasting only moments! I have since learned that other people have also used the same term ‘ping-pong balls’ to relate their own similar experiences! A silent silver flash and a bombardment of ping-pong balls, all within minutes of being up there...at the tender age of 28, I was fast beginning to learn that Glastonbury Tor IS more than just an average high mass of land! I stayed a further two hours that cold early morning with naught else to report despite my hopeful and sincere intonations directed at the Archangel Michael whose tower sits upon the very top, calling him by his magical names of Mikaal-Sabbathiel-Beshtar, (everything worth a try for more pyrotechnical response!) returning through the wispy streams of mist at 5am in the morning for one last effort.

Since that first acquaintance with the Tor, I have visited many times in all seasons, with and without people, all times of the days and in all weathers whenever the opportunity has arose, with nothing out of the ordinary to report. At the time I would seek so-called paranormal experiences as they seemed to excite - stationed up hills that can potentially emit sudden strange lights is a lot better than your typical average evening television viewing! The more I read sensible investigations into ‘earth lights’ and the fine book of that title by Paul Devereux, the more I was beginning to accept this as the rationale behind most if not all of the stories associated with the Tor. Without evidence, you can only listen with wonder at anecdotal stories and should stick to you own direct empirical experiences, as others are perfectly entitled to with my own offerings. Having said that, one story did trouble my comfortably settling in theory. I received an email from a previous Mayor of Glastonbury who one night saw a reddish orange light appear ABOVE the Tor and sink into the summit, not come out of it! He was convinced it had been the usual understanding of a ‘spaceship/Ufo’. Sinking INTO the Tor? Over the years since the sixties and to this current day, there have been a number of Ufo sightings associated with above Glastonbury Tor, and amongst the many colored light sightings this orangey-red does seems to be the most common. I wondered if this could have anything to do with the fact that high up on the Tower is a carving, I’m not sure why, of the Phoenix, or Fire Bird. Maybe the Collective Unconscious had been at work there influencing the mind of the carver. The Phoenix rises from the ashes, and so I smile at the synchronicity of knowing that at the foot of the Tor since the seventies, lives the Arthurian author Geoffrey Ashe.

 

The Phoenix upon the Michael's Tower

With all this in my mind, I wondered if it could be possible to dare attempt to pick up any aerial phenomenon on film, and so after last visiting the Tor in 1997 I returned in 2005 this time, and for the very first time in all my visits, armed with a camera (non digital as I learn this goes against critical analysis of phenomenon on photos). At this point, let me clarify the situation for you. Here I am on my own embarking up what has to be my favorite spot on earth, having been t here numerous times in all weathers, seasons and times of the day - it simply doesn’t matter, as nothing can affect that strange awe and respect I have always held for this mound. The notion in my mind was to impress upon the Tor could I possibly ‘be allowed’ something to pick up on camera. This of course would imply that such a thing could happen. How? Well, for an answer to that one you will have to bear with my preferred belief that, in harmony with Gaia Hypothesis, the earth can be a living, thinking organism and biosphere. That Nature can hear and think, and may even respond to an earnest request. Some will find this ‘far out’ to which I respond, what gives people the authority to assume the world to be as they think it? Sometimes the ‘way out’ is the way in! Having made my thoughts known to anything that may exist to hear and respond to them, I was approximately two-thirds up the Tor when something strange happened. I was awash with a great irrational fear that was so strong my reaction was to want to turn back and rush off down the Tor! But what about my attempted photography that I had travelled 223 miles to Somerset to experiment? Who cares, I could only think of resorting to what us British refer to as ‘doing a runner’ – a swift retreat! Now, my ego must inform you, this is NOT my style – I run away from nothing, neither have I ever suffered what are called ‘panic attacks’, and yet this term certainly describes what had happened to me. However, I steadied myself and sat down a while, then eventually continued my way back up the remaining distance to the top, with tourists on either side unaware of how I was still filled with this awful trepidation.

Once up there I took my pictures and was content to come away from Glastonbury Tor as swiftly as I could. All the while up there I remained filled with a fear that I have never experienced in my life or ever dreamt I could. What on earth had happened to me? Perhaps a part of the strange answer involves the series of dark aerial dots that were captured on film, moving themselves about. There was nothing in the sky to declare at the time the shutter snapped, no birds, planes, not a thing, but on sensitive film that can be known to capture images beyond the human eye were the dots. Better than that, to the right at the back of the Michael tower, a peculiar cross-shaped object had appeared! Critics who weren’t there will invariably cite a bird or a plane, some have even said an insect(!), but I repeat there was nothing in the clear sky, and this essay is not for the critics, but for those who also suspect there may be more than meets the eye, literally, concerning this famous hill. In 2007, I returned again in June to the Tor hoping to repeat the experiment, actually having filed the fear-filled attack away as a puzzling ‘blip’ on the radar. It wasn’t even fresh in my fading memory – which some may find as hard to believe as the manifestations – when I began my familiar ascent from the Chalice Lane end. Incredibly, and at the EXACT same place point up the winding path as before, it happened to me again, and just as frightening. I repeated my immediate thought of the earlier year, “I’m off!’ having to freeze to the spot in order not to do a runner!

As before, I eventually managed some degree of composure to reach the tower and to take more photographs in the clear blue and uninterrupted sky with that horrendous fear of trepidation never leaving me for a moment. The best description I can offer is a feeling that I was just about to drift off weightlessly above! With the camera fulfilling its 27 exposure, I was more than pleased to legitimately retreat. There were more dots appearing on the pix again, but most amazingly, the cross-shaped ‘Ufo’ object had re-appeared in EXACTLY the same position! In 2008 it was a sunny June again, and this time I was more than apprehensive about the twice inexplicable panic that had filled me at the same spot the two years running, and for good reason when in rushed the by now familiar alarm at the same point of ascension, only this time it was worse than the last two combined. I WAS going to run off this time for sure! In what was fast becoming a tradition I didn’t, and continued after a long period to the plateau to use the film up. Now, this time, when eventually up there, I felt rather calmer, quite bearable. Two friends accompanying me knew nothing of my earlier traumas or what I was experiencing now. The developed film heralded no phenomenon. Desperately trying to make sense of this trio of adventures I could only return to a dependency on the Gaia Theory – had my thoughts and intent been received and part of the ‘deal’ was that in order to be granted manifestations I would have to forfeit an ordeal? Or could it not have been avoided? How could I know, leaving me only to record the incidents and leave it at that.

In August 2009 I ascended the Tor by my usual route, with two relatives who were aware of my previous troubles. In order to change the factors involved, I brought no camera and was seeking no photographs of any nature. Both my daughter and grandson were shocked when I informed them – at the same spot as the prior three years – that I could go no further! Leaving them to continue alone, I sat there looking at the tower in the distance and saying to myself, “I can never reach up there again!’, as that was how my feelings were translating. How could I accept never being able to visit my favorite ever spot, even though I now had to accept that this overpowering apprehension was now part of my equation? After the customary time lapse, angry with myself, I came up with the idea to climb down off the path to the left and along one of the embankments some way and then continue back up the steep side to the path again. I managed this and could continue the remainder of the walk where I again felt quite calm at the top of the Tor. My theory of being ‘granted’ photos for a ‘forfeit’ clearly didn’t fit. My daughter took a picture of the spot where for consecutive years approaching the Tor from Chalice Well I reached an area that against all probability and rationale forbade me to cross! It’s tempting to suggest this could be some sort of weird Tor energy ‘force field’ that I had now developed a sensitivity to? I have applied all logic to these adventures. Had I suddenly at my age developed acrophobia, a sort of fear of heights? No, my physiology did not meet the criteria anywhere near enough, and there were no physical symptoms at all such as dizziness, heart palpitation or lack of breath. Nothing but that irrational ‘panic attack’.

A part of me found this most ironical, as during the 80’s in conjunction with my understanding of the Collective Unconscious I had conducted, with great success, psychological experiments with the archetype of the nature god Pan, whose presence instills instant panic! The rustic image of this half man-half goat Greek god was shamelessly stolen by the Christian Church and used to represent their Satan devil figure. Such echoes of dipping into, arguably, the realm of magick, were far from my mind, but was the archetypical energy of the god - in myth Overseer of the faery realm - awaiting me at the Tor? The following day, again changing the factors involved in the total equation, I ascended from the other available path at the far end of the Tor with my grandson and Glastonbury resident Mike Chenery. This way up is quicker, but much steeper. Apprehensively all the way, I made it up there without a fault!
I had arranged to meet with Mike, for he too has an amazing story to tell, and again, I will tell it for those who can find it a possibility that the Tor is simply more than just a steep hill. However, it is a sad fact that in this world of computer wizardry there is very little that cannot be faked in the way of photographs, which makes it nigh on impossible for people like Mike and myself, with genuine unlikely pix, to be taken seriously. On February 26th 2007 at 4.33pm on a bright day Mike was walking up Chalice Orchard Lane when his attention was drawn to the fact that all the singing birds had suddenly stopped their song. This stillness and suspension reminds me of what occurs at the time of a solar eclipse when birds become temporarily disorientated. He was now at a gate that provides a vantage point view of one of the unarched sides of the tower. Casually looking up he saw a dazzling white ‘something’ that, in his words, ‘glided’ a short distance from within the tower. At first it showed itself as thin but then moved its perspective facing Mike’s direction and in doing so widened, rather like at first being as a door seen sideways on and then full frontal. As he always carries a camera during his numerous excursions, he only just found the time to take a picture and then the apparition that had only lasted seconds, simply ‘popped off’!! There had been nobody else up on the Tor at the time. The result on his digital camera confirmed what he had seen with his own eyes, a spectre of some definition, but what could it have been?

For some clues to this mystery I have taken a closer look at the carvings that appear on the front of the Tor. My contention places firm belief that specific works of architecture are often brought about by the Collective Unconscious working through an unsuspecting human agency that if interpreted correctly can afford us clues to something of a hidden value. I find it intriguing that the highest carving on the tower is that of the Phoenix, a bird of Arabia so called owing to it possession of a scarlet color – the color that is most prominent in the weird earth light displays. The Phoenix also represents immortality, life after death and mystical rebirth. So why should this be above the Tor? Below it to the left we see St Michael and the devil, weighing souls. To their right is St Bridget milking a cow.

St Bridget carving on Tower

Bridget was originally the Celtic, and possibly pre-Celtic, goddess Brighde. Her earliest representations associate her with fire. Why too should she be situated there, is it because both Bridget and Phoenix have this red, fire association? It is said that the Gateway to the Underworld opens only on the days of a fire festival, St Bridget having such a date on February 1st. Employing the lost Mother Tongue language, a form of Esperanto that can link up languages and sciences into a cybernetic fashion and revealed to me by my autistic savant wife Avril, when we look at the name ‘Glastonbury’ we can see ‘Glass-stone-bury’ or ‘Glass stone ruby’. Is it that simple – a buried glass stone or buried glass ruby stone is somehow associated with the Tor? Ruby, is of course, a pure transparent (as would be a glass stone) red corundum. The key word here may be ‘transparent’ from Latin ‘parere’ meaning ‘to appear’. Back to Bridget-Brighde, and by consulting the phonetic, visual pun and anagrammatic language of the Mother Tongue, try pronouncing the name ‘Bridget’ without saying ‘Bridge shut’.

Are we drawing attention to a shut bridge? Bridge comes from the old English ‘bryg’ and a ‘brig’ is a two masted, square rigged vessel from the word ‘brigantine’. Does this ship have a porthole? Or, does this ‘spaceship’ have a ‘portal’? Looking closer at the word ‘bridge’ we find that it is anything that connects across a gap or makes an electrical connexion between, and its synonyms include; arch, link, connexion, connect. Under enlargement, the dazzling white shape caught on camera shows an outline not unlike a tomb headstone and I wonder if we are seeing the actual archetype and origin for such a structure, something of an arch whereby the soul will pass through to liably voyage beyond. The dazzling bright white reminds me of the descriptions seen down a tunnel in near death experiences. Is this, indeed a time-space Portal, a normally ‘bridge shut’ and place of mystical rebirth of the Phoenix? Can such a Portal exist on Glastonbury Tor and is this what Mike Chenery has photographed physically opening for a few moments of our known time? Is the Michael tower with its two-sided arch you can walk through and out, a physical living unconscious memory of a replica, dimensional Portal? For some liable confirmation and a startling conclusion, my interpretation returns to the stonework images on the tower that I believe to have provided by that Collective Unconscious confirming the presence of a Portal. We see Michael and the Pan-like figure of the devil weighing souls on a weighing scale, the devil having a foot on his scale attempting to weigh it down. The key words here are ‘Scales’ and ‘Way’ (phonetic of ‘weigh’). ‘Way’ means ‘passage’, and ‘scales’ in musical composition is a progression of single notes upwards or downwards in steps.

The Devil weighing souls

The imagery of the devil tipping down his scale is to draw reference to the infamous augmented 4th, or ‘Devil’s Chord’, prohibited by the church in the 12th century. My friend the Scottish author Brian Allen has evidenced in his own work ‘Rosslyn, between two worlds’ a belief that there is a Portal contained within Rosslyn Chapel and that this devil’s chord is a key and sound frequency involved in opening the Portal. I smile when I recall how the devil was always represented holding a pitch-fork which I think we now can more correctly view as an acoustic resonating tuning fork which can be used to emit a pure musical tone. The pan pipes, or syrinx, of the god Pan also involve specific acoustic octave properties. As Allen suggests, does a specific frequency or harmonic note, along with this devil’s chord, provide the science that opens a Portal? It should therefore be no surprise that Glastonbury has this entwined musical connexion with its annual festival. We return next to the carved image of St Bridget seen milking a cow with a pitcher, the musical term for pitch means to ‘set in a key.’ With Bridget we are inviting in a ‘bridge’, which in classical music is also known as a ‘transition’, the word meaning ‘a passage from one place’. Through the Portal... the mystical re-birth of the Phoenix allegory?

With the wonder and revelation of synchronicity in mind, a bridge, in music, is formally known as a bridge-passage......

Copyright Dan Green 2011
Presented with permission of the author.
‘Youtube – ‘The Spectre on Glastonbury Tor’
Pix copyright and courtesy of Mike Chenery

Callum Jensen (Dan Green - author of 'The Lincoln Da Vinci Code' and 'The Lincoln Da Vinci Code and the Mystery of Rennes-le-Chateau')


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