Biblical plagues really happened

The Biblical plagues that devastated Ancient Egypt in the Old Testament were the result of global warming and a volcanic eruption, scientists have claimed.

Researchers believe they have found evidence of real natural disasters on which the ten plagues of Egypt, which led to Moses freeing the Israelites from slavery in the Book of Exodus in the Bible, were based.

But rather than explaining them as the wrathful act of a vengeful God, the scientists claim the plagues can be attributed to a chain of natural phenomena triggered by changes in the climate and environmental disasters that happened hundreds of miles away.

They have compiled compelling evidence that offers new explanations for the Biblical plagues, which will be outlined in a new series to be broadcast on the National Geographical Channel on Easter Sunday.

Archaeologists now widely believe the plagues occurred at an ancient city of Pi-Rameses on the Nile Delta, which was the capital of Egypt during the reign of Pharaoh Rameses the Second, who ruled between 1279BC and 1213BC.

The city appears to have been abandoned around 3,000 years ago and scientists claim the plagues could offer an explanation.

Climatologists studying the ancient climate at the time have discovered a dramatic shift in the climate in the area occurred towards the end of Rameses the Second's reign.

By studying stalagmites in Egyptian caves they have been able to rebuild a record of the weather patterns using traces of radioactive elements contained within the rock.

They found that Rameses reign coincided with a warm, wet climate, but then the climate switched to a dry period.

Professor Augusto Magini, a paleoclimatologist at Heidelberg University's institute for environmental physics, said: "Pharaoh Rameses II reigned during a very favourable climatic period.

"There was plenty of rain and his country flourished. However, this wet period only lasted a few decades. After Rameses' reign, the climate curve goes sharply downwards.

"There is a dry period which would certainly have had serious consequences."

The scientists believe this switch in the climate was the trigger for the first of the plagues.

The rising temperatures could have caused the river Nile to dry up, turning the fast flowing river that was Egypt's lifeline into a slow moving and muddy watercourse.

These conditions would have been perfect for the arrival of the first plague, which in the Bible is described as the Nile turning to blood.

Dr Stephan Pflugmacher, a biologist at the Leibniz Institute for Water Ecology and Inland Fisheries in Berlin, believes this description could have been the result of a toxic fresh water algae.

He said the bacterium, known as Burgundy Blood algae or Oscillatoria rubescens, is known to have existed 3,000 years ago and still causes similar effects today.

He said: "It multiplies massively in slow-moving warm waters with high levels of nutrition. And as it dies, it stains the water red."

The scientists also claim the arrival of this algae set in motion the events that led to the second, third and forth plagues – frogs, lice and flies.

Frogs development from tadpoles into fully formed adults is governed by hormones that can speed up their development in times of stress.

The arrival of the toxic algae would have triggered such a transformation and forced the frogs to leave the water where they lived.

But as the frogs died, it would have meant that mosquitoes, flies and other insects would have flourished without the predators to keep their numbers under control.

This, according to the scientists, could have led in turn to the fifth and sixth plagues – diseased livestock and boils

Professor Werner Kloas, a biologist at the Leibniz Institute, said: "We know insects often carry diseases like malaria, so the next step in the chain reaction is the outbreak of epidemics, causing the human population to fall ill."

Another major natural disaster more than 400 miles away is now also thought to be responsible for triggering the seventh, eighth and ninth plagues that bring hail, locusts and darkness to Egypt.

One of the biggest volcanic eruptions in human history occurred when Thera, a volcano that was part of the Mediterranean islands of Santorini, just north of Crete, exploded around 3,500 year ago, spewing billions of tons of volcanic ash into the atmosphere.

Nadine von Blohm, from the Institute for Atmospheric Physics in Germany, has been conducting experiments on how hailstorms form and believes that the volcanic ash could have clashed with thunderstorms above Egypt to produce dramatic hail storms.

Dr Siro Trevisanato, a Canadian biologist who has written a book about the plagues, said the locusts could also be explained by the volcanic fall out from the ash.

He said: "The ash fall out caused weather anomalies, which translates into higher precipitations, higher humidity. And that's exactly what fosters the presence of the locusts."

The volcanic ash could also have blocked out the sunlight causing the stories of a plague of darkness.

Scientists have found pumice, stone made from cooled volcanic lava, during excavations of Egyptian ruins despite there not being any volcanoes in Egypt.

Analysis of the rock shows that it came from the Santorini volcano, providing physical evidence that the ash fallout from the eruption at Santorini reached Egyptian shores.

The cause of the final plague, the death of the first borns of Egypt, has been suggested as being caused by a fungus that may have poisoned the grain supplies, of which male first born would have had first pickings and so been first to fall victim.

But Dr Robert Miller, associate professor of the Old Testament, from the Catholic University of America, said: "I'm reluctant to come up with natural causes for all of the plagues.

The problem with the naturalistic explanations, is that they lose the whole point.

"And the whole point was that you didn't come out of Egypt by natural causes, you came out by the hand of God."

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A Host of Mummies, a Forest of Secrets

In the middle of a terrifying desert north of Tibet, Chinese archaeologists have excavated an extraordinary cemetery. Its inhabitants died almost 4,000 years ago, yet their bodies have been well preserved by the dry air.

The cemetery lies in what is now China’s northwest autonomous region of Xinjiang, yet the people have European features, with brown hair and long noses. Their remains, though lying in one of the world’s largest deserts, are buried in upside-down boats. And where tombstones might stand, declaring pious hope for some god’s mercy in the afterlife, their cemetery sports instead a vigorous forest of phallic symbols, signaling an intense interest in the pleasures or utility of procreation.

The long-vanished people have no name, because their origin and identity are still unknown. But many clues are now emerging about their ancestry, their way of life and even the language they spoke.

Their graveyard, known as Small River Cemetery No. 5, lies near a dried-up riverbed in the Tarim Basin, a region encircled by forbidding mountain ranges. Most of the basin is occupied by the Taklimakan Desert, a wilderness so inhospitable that later travelers along the Silk Road would edge along its northern or southern borders.

In modern times the region has been occupied by Turkish-speaking Uighurs, joined in the last 50 years by Han settlers from China. Ethnic tensions have recently arisen between the two groups, with riots in Urumqi, the capital of Xinjiang. A large number of ancient mummies, really desiccated corpses, have emerged from the sands, only to become pawns between the Uighurs and the Han.

The 200 or so mummies have a distinctively Western appearance, and the Uighurs, even though they did not arrive in the region until the 10th century, have cited them to claim that the autonomous region was always theirs. Some of the mummies, including a well-preserved woman known as the Beauty of Loulan, were analyzed by Li Jin, a well-known geneticist at Fudan University, who said in 2007 that their DNA contained markers indicating an East Asian and even South Asian origin.

The mummies in the Small River Cemetery are, so far, the oldest discovered in the Tarim Basin. Carbon tests done at Beijing University show that the oldest part dates to 3,980 years ago. A team of Chinese geneticists has analyzed the mummies’ DNA.

Despite the political tensions over the mummies’ origin, the Chinese said in a report published last month in the journal BMC Biology that the people were of mixed ancestry, having both European and some Siberian genetic markers, and probably came from outside China. The team was led by Hui Zhou of Jilin University in Changchun, with Dr. Jin as a co-author.

All the men who were analyzed had a Y chromosome that is now mostly found in Eastern Europe, Central Asia and Siberia, but rarely in China. The mitochondrial DNA, which passes down the female line, consisted of a lineage from Siberia and two that are common in Europe. Since both the Y chromosome and the mitochondrial DNA lineages are ancient, Dr. Zhou and his team conclude the European and Siberian populations probably intermarried before entering the Tarim Basin some 4,000 years ago.

The Small River Cemetery was rediscovered in 1934 by the Swedish archaeologist Folke Bergman and then forgotten for 66 years until relocated through GPS navigation by a Chinese expedition. Archaeologists began excavating it from 2003 to 2005. Their reports have been translated and summarized by Victor H. Mair, a professor of Chinese at the University of Pennsylvania and an expert in the prehistory of the Tarim Basin.

As the Chinese archaeologists dug through the five layers of burials, Dr. Mair recounted, they came across almost 200 poles, each 13 feet tall. Many had flat blades, painted black and red, like the oars from some great galley that had foundered beneath the waves of sand.

At the foot of each pole there were indeed boats, laid upside down and covered with cowhide. The bodies inside the boats were still wearing the clothes they had been buried in. They had felt caps with feathers tucked in the brim, uncannily resembling Tyrolean mountain hats. They wore large woolen capes with tassels and leather boots. A Bronze Age salesclerk from Victoria’s Secret seems to have supplied the clothes beneath — barely adequate woolen loin cloths for the men, and skirts made of string strands for the women.

Within each boat coffin were grave goods, including beautifully woven grass baskets, skillfully carved masks and bundles of ephedra, an herb that may have been used in rituals or as a medicine.

In the women’s coffins, the Chinese archaeologists encountered one or more life-size wooden phalluses laid on the body or by its side. Looking again at the shaping of the 13-foot poles that rise from the prow of each woman’s boat, the archaeologists concluded that the poles were in fact gigantic phallic symbols.

The men’s boats, on the other hand, all lay beneath the poles with bladelike tops. These were not the oars they had seemed at first sight, the Chinese archaeologists concluded, but rather symbolic vulvas that matched the opposite sex symbols above the women’s boats. “The whole of the cemetery was blanketed with blatant sexual symbolism,” Dr. Mair wrote. In his view, the “obsession with procreation” reflected the importance the community attached to fertility.

Arthur Wolf, an anthropologist at Stanford University and an expert on fertility in East Asia, said that the poles perhaps mark social status, a common theme of tombs and grave goods. “It seems that what most people want to take with them is their status, if it is anything to brag about,” he said.

Dr. Mair said the Chinese archaeologists’ interpretation of the poles as phallic symbols was “a believable analysis.” The buried people’s evident veneration of procreation could mean they were interested in both the pleasure of sex and its utility, given that it is difficult to separate the two. But they seem to have had particular respect for fertility, Dr. Mair said, because several women were buried in double-layered coffins with special grave goods.

Living in harsh surroundings, “infant mortality must have been high, so the need for procreation, particularly in light of their isolated situation, would have been great,” Dr. Mair said. Another possible risk to fertility could have arisen if the population had become in-bred. “Those women who were able to produce and rear children to adulthood would have been particularly revered,” Dr. Mair said.

Several items in the Small River Cemetery burials resemble artifacts or customs familiar in Europe, Dr. Mair noted. Boat burials were common among the Vikings. String skirts and phallic symbols have been found in Bronze Age burials of Northern Europe.

There are no known settlements near the cemetery, so the people probably lived elsewhere and reached the cemetery by boat. No woodworking tools have been found at the site, supporting the idea that the poles were carved off site.

The Tarim Basin was already quite dry when the Small River people entered it 4,000 years ago. They probably lived at the edge of survival until the lakes and rivers on which they depended finally dried up around A.D. 400. Burials with felt hats and woven baskets were common in the region until some 2,000 years ago.

The language spoken by the people of the Small River Cemetery is unknown, but Dr. Mair believes it could have been Tokharian, an ancient member of the Indo-European family of languages. Manuscripts written in Tokharian have been discovered in the Tarim Basin, where the language was spoken from about A.D. 500 to 900. Despite its presence in the east, Tokharian seems more closely related to the “centum” languages of Europe than to the “satem” languages of India and Iran. The division is based on the words for hundred in Latin (centum) and in Sanskrit (satam).

The Small River Cemetery people lived more than 2,000 years before the earliest evidence for Tokharian, but there is “a clear continuity of culture,” Dr. Mair said, in the form of people being buried with felt hats, a tradition that continued until the first few centuries A.D.

An exhibition of the Tarim Basin mummies opens March 27 at the Bowers Museum in Santa Ana, Calif. — the first time that the mummies will be seen outside Asia.

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Genie, Jinn or Djinn

We don't actually know a single thing about life on other planets. Scientific evidence that extraterrestrials visit us doesn't exist.

Our belief that they do is fantastic modern mythology in the making.

However, there is enormous evidence that deceptive entities are masquerading as extraterrestrials.

There are unseen creatures that we share this Earth with.
They don't come from other planets.

They've been called many names:

aliens, spirits, Etherians, Ultraterrestrials, and more.

In the Koran they are called the Jinn.

Information about the Jinn reads like a textbook description of UFO and other paranormal phenomena.

Discovering these entities gives you an essential key to understanding paranormal phenomena.

They are the major players behind our myths and most perplexing mysteries.

UFOs aren't extraterrestrial -- They're extradimensional.


The JINN are beings with free will, living on Earth in a world parallel to mankind. The Arabic word means to conceal. They appear to include juvenile pranksters as well as powerful superior beings with an agenda we don't understand. They have influenced mankind's religious and cultural beliefs from antiquity to the present.

Jinn can create UFOs, hallucinations, psychokinetic effects, cattle mutilations, crop circles, apparitions and other paranormal phenomena.

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Genie Invocation Spells or Jinn Invocation formulas Djinns.
Jinns, Genies are also living beings but they are made of fire. Genie or Jinns can be conquered by human beings by special invocations and if the invocation is done properly then after the completion of the Invocation it is possible to conquer the genie of jinns. But they all are one having the same powers and if this power is conquered by any one that person will be a very powerful human being having any type of power to do any thing and every thing.

Looking for Genie Invocation spells or formulas for invocation of genies.then here you will get all the information on genies. Jinn invocation is done to conquer jinns. Invocation of jinn is possible by jinn spells or genie spells with talismans or charms.
So Genies can be called with different name. Some common genie name are JINNS, GENIES, DJINNS, ANGEL, HAMZAAD, JABAL, AJINNA MUSSA, DJINNS and more, what ever may be the name but evocation of these powers and the method to evoke genies or jinns, djinns are the same as they are same power.
So if you have questions in your mind that how to conquer the genie or jinn, or how to get the genie invocation spells or jinn invocation spells, or how to get information on djinns etc you may not worry. If you need any information of genie formulas or jinn spells email me and I will guide you with all the information you require.
Summoning of genies or Invocation of genies is easy. Summoning or invocation of genies, jinns etc requires proper concentration and then invocation of genies (jinns) is possible.

As we all are aware of ALADDIN GENIE or ALLADDINS JINN. But there are all fairy tales as Aladdin's Genie Lamp etc as we read in fairy tales and read how alladdin rubbed his lamp etc and genie or jinn was evoked. Again it is not so easy Aladdin genie etc can be evoked or summoned or conquered by proper genie invocations and rituals.

So have questions on spells. Or Where can I find Real and True Spells?. Or Who can help me in Casting Spells. Just Contact Me.
If you need or want any information on love or money spells email me and I will guide you.
Looking or Need powerful spells. So want or wish real and true spells. I will cast powerful spell according to your want or need.

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The Chicago’s Devil Baby of Hull House

The most famous American Devil Baby has to be the Chicago’s Devil Baby of Hull House. At least, this is certainly the most widespread legend.

Hull House represented the life’s work of Nobel Prize winning philanthropist Jane Addams. It was a place envisioned as a stepping-stone for underprivileged and impoverished members of Chicago’s poor immigrant society. Because of Addams’ particular interest in suffrage and women’s and children’s rights, it was natural that immigrant women and mothers would be attracted to the beacon of Hull House.

Despite Addams’ fervent denials (she dedicated more than 40 pages to the legend and its impact on her life in her autobiography) the story persisted that Hull House was the home of a creature not of this earth.

Originally, the rumor was just a whisper among the large immigrant population of late 19th century Chicago. Mostly superstitious and uneducated, it is certain that they brought with them from their homelands many ethnic and cultural beliefs that shaped their perception of their new foreign world. However, the “facts” were no fabrication: Most sources agree that Jane Addams, out of charity, took in the female who would bear the burden that would plague the good woman for generations to come.

The mother of the Devil Baby, though nameless, is said to have fled to Hull House to escape a brutal marriage. This is a central part of the story and an important one: evidently the young immigrant woman found herself pregnant once again and the husband, already having too many mouths to feed on his meager income, is said to have ruthlessly beat his wife, all the while cursing the unborn child. When the young woman fled to the shelter of Hull House, she found an understanding matron who was prepared to take her in and to protect her through the difficult pregnancy.

And it was a difficult pregnancy, according to the written accounts of Hull House servants who rendered firsthand descriptions of the notorious events. The mother-to-be complained of unusual pains throughout the pregnancy, of hearing voices and of having vivid, frightening nightmares. Jane Addams and the Hull House physicians put this down to the tormented life that the woman had led prior to escaping to Hull House, exacerbated by the continuous efforts of her husband to gain access to her.

As the time of her delivery came due, the horrible nature of what she had carried and nurtured for nine months was finally revealed. A writhing monster child full of scales and reptilian coldness with gleaming, black eyes, clawed hands and feet, and the protrusions of tiny horns on its forehead.

Legend has it that the mother died on the spot, mercifully released from this world. But in an unexpected turn of events, it is said that Jane Addams was overcome with such compassion that it moved her to take the child into her care.

Thus the story grew up over the years, whispered in every quarter, that behind the walls of Hull House an evil was growing.

This infant grew to a child – a monstrous lump of a human-like creature – that prowled the darkness and had full run of the dreaded third storey of Hull House. It is said that the child would peer from the windows, envious of the other children with whom it was not allowed to associate. Children and other residents of Hull House often awoke in the night to strange scrabbling noises and furtive breathing near their faces, only to discover in the lamplight that they were completely alone.

Eventually, Jane Addams died, but the legend of the Devil Baby of Hull House lives on and even today passersby and visitors to the location report seeing the shadow of “something” childlike peering at them from the darkness.

• Facts

A link between ghosts and cemeteries has a certain logic, but a connection between specters and a monument to good works is less explicable. Nevertheless, a demonic spirit supposedly haunts Hull House, site of the most famous settlement house in America.


In 1889, Jane Addams and another social worker took over the Hull mansion at 800 South Halsted and turned it into a community center. The house, now part of the Chicago campus of the University of Illinois, is currently a museum dedicated to Addams and her work.

Addams was a hardheaded, progressive reformer, a proud and determined do-gooder in an age sorely in need of one. She and her colleagues turned Hull House into a community center, supplying shelter, food and practical advice to the huge number of bewildered young immigrant women in the late 1800s and early 1900s.

In the winter of 1913, Addams could have used some advice herself to deal with what must have seemed to her no-nonsense mind a case of mass hysteria. Women were streaming into Hull House with a very particular request: They wanted to see the Devil Baby. Stories were circulating throughout the city about a child born with scaly skin, horns, hooves and a tail. Some of the rumors included accounts of the young demon flying about the rooms of Hull House while social workers tried desperately to catch him. "He looks just like Satan himself," a witness told newspaper reporters.

Depending on who told the story, the infant's origins varied. Jewish women claimed he was the offspring of an unfeeling father with a large family of daughters who declared that he'd rather his wife give birth to a demon than to another baby girl. Italians said the Devil Baby's mother was a God-fearing woman who had had the misfortune to marry an atheist. When the woman put a picture of Jesus on her wall, the husband angrily tore it down, saying that he'd rather have the devil himself in the house. And, according to this version, he got his wish. These and other variations ended with a desperate family taking the baby to Hull House and pleading for help.

In the beginning, Addams was furious at the rumors, which she tried to combat with appeals to common sense. Eventually, however, she worked out a sociological explanation that, to her way of thinking, explained the phenomenon. She noted that many purveyors of the Devil Baby story were older immigrant women, isolated in their new country, deprived of whatever domestic power and authority their age might have afforded them in their native villages. "The old women who came to visit the Devil Baby believed the story would secure them a hearing back home," Addams reported, "and as they prepared themselves with every detail of it, their faces shone with timid satisfaction."

But despite Addams' sensible, secular debunking of the Devil Baby as the outcome of a pitiable bid for attention, many Chicagoans still believe that a strange creature of some sort really existed. Some suggest that the Devil Baby may simply have been a horribly deformed child, kept by the Hull House workers to shelter it from an unforgiving world. Other believers still claim to see a devilish little face peering out of one of the House's second-floor windows.

Addams would doubtless have scoffed at such superstitious claptrap — or maybe not. In her diaries, she reported hearing strange noises coming from the upper rooms of the Hull House. She didn't know what made the racket, but she habitually put large buckets of water at the top of the stairs to keep it — whatever it was — at bay.

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Glastonbury Tor

....Did A Portal Open On 26/02/07?...

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 it is really 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 in trying to explain with a scientific approach electro-magnetic vortices at work. Can this hill justify the wondrous tales of coloured 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!

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 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 and intrepid 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 is worth a try for a 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 arisen, with nothing out of the ordinary to report. At the time I would seek so-called paranormal experiences as they seemed to excite me - 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 your 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 coloured 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.

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 2006; 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 favourite spot on earth, having been there 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 when I began my familiar ascent from the Chalice Lane end - which some may find as hard to believe as the manifestations. 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 favourite 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 Well House 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 un-arched 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 Tower. 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 colour - the colour 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. 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 2nd.

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 reliable confirmation and a startling conclusion, my interpretation returns to the stonework images on the tower that I believe to have been 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 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 into 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......

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The Nazca Lines, Peru

The Nazca Lines are giant sketches drawn in the desert of western Peru by ancient peoples. The drawings were created on such a large scale is such that the shapes can be readily discerned only from the air, leading to a variety of theories about their purpose.

The Nazca Lines were created in the time of the Nazca Indians, who flourished in the area from 200 BC to about 600 AD. Graves and ruins of their settlement have been found near the lines.

The lines would have taken a long time to create, perhaps several generations, and many people contributed to their creation. As to the purpose of the Nazca Lines, see below for some of the theories.

The area of the Peruvian desert in which the Nazca Lines were drawn is called the Pampa Colorada (Red Plain). It is 15 miles wide and runs some 37 miles parallel to the Andes and the Pacific Ocean. The desert is not sandy, but made of dark red surface stones and soil with lighter-colored subsoil beneath. The Lines were created by clearing away the darker upper layer to reveal the lighter subsoil.

It seems incredible that such simply-made drawings have survived for so many hundreds of years, and some have seen a mysterious element to this. But there is also a natural explanation: the surface is made of stone, not sand, and the climate of the area is such that there is practically no erosion. The Nazca peoples chose an excellent place for an enduring monument.

The Nazca Lines include straight lines and geometric shapes as well as stylized depictions of animals, humans and plants. The figures include:

• monkey
• condor
• round-headed, rather friendly-looking human (known as "the astronaut")
• another human figure
• spider
• hummingbird
• hands
• tree

Theories of the Nazca Lines mainly attempt to explain why these remarkable drawings were created, and some theories seek to address the "how" question as well. Especially in the earlier years of study, it was difficult for many anthropologists to believe that the ancient Nazca peoples could have created the Lines without help from a more advanced society - or species!

Perhaps the most famous theory of the Nazca Lines is that of Swiss writer Erich von Däniken. In his 1968 book Chariots of the Gods, he suggested that the lines were built by ancient astronauts as a landing field. He identifies the pictures as "signals" and the longer lines as "landing strips."

In 1977, Jim Woodman accepted that the Nazca people made the lines themselves, but puzzled over why they would make them so big that they couldn't even seen them. He hypothesized that the Nazca people used hot-air balloons for "ceremonial flights" to view their creations.

Woodman attempted to demonstrate the validity of his theory by constructing a hot-air balloon out of the materials that would have been available to the Nazca. Using cloth, rope and reeds, Woodman and his colleagues assembled the balloon then risked their lives on a balloon ride that reached a height of 300 feet. The balloon soon descended rapidly; the balloonists bailed out 10 feet above the desert before it crashed some distance away.

In recent years, the professional skeptic Joe Nickell has demonstrated that the drawings would not have been hard to accomplish with only the tools available to the ancient Nazca. Nickell has also shown that although the size of the figures suggests they were intended primarily for the enjoyment of the gods, the drawings can be appreciated from the ground as well.

The general consensus of archaeologists, anthropologists and scientists is that the Nazca Lines were created by the Nazca people themselves, without help from celestial visitors or aerial views. The figures drawn in the desert correspond with images found in other examples of Nazca art, such as pottery.

It is almost certain that the Nazca Lines had a sacred purpose, because: other artifacts of the Nazca culture show a preoccupation with death; other major monuments of the ancient world are known to be ritual in nature; and no plausible practical purpose has yet been discovered.

The Nazca Lines may have been ritual centers for helping the dead achieve immortality; they may have been an offering to the gods; or they could have been a major pilgrimage site.

We may never know why the Nazca peoples put so much time and care into a project that they could barely see. In spite of all that we have learned about them in recent years, the Nazca Lines remain a fascinating mystery.

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Gothic Cathedral of Lincoln, England

In 2005 I began an exhaustive investigation into an area of research that hitherto had been completely unknown to me, the wondrous edifice of the Gothic Cathedral of Lincoln, England. To say that the Cathedral is a most splendid building would still be an understatement. Dominating the Lincoln skyline, it can be seen as far away as thirty miles, its 271’ central tower England’s second most tallest. It may even be compared in a fashion with the Tor at Glastonbury, itself visible for miles, for when it enshrouds in mist as it does many times in the year, it will vanish completely, as if wrapped up in the vaporous shroud of Avalon – made all the more appropriate by the fact that its Patron Saint Hugh arrived from the village of Avalon in eastern France. The Cathedral was the tallest building in the world from just after 1300-1549, the first building on the planet to exceed the height of the great pyramid of Giza, until the spire that afforded it this accolade was blown down. My own research led me to the startling and unexpected discovery of the ‘Lincoln Cathedral Code’ involving the mystery of Rennes-le-Chateau, Mary Magdalene and the Knights Templar, and I could have been forgiven for thinking that unearthing an occult and mystical side to the Cathedral was a unique find. However, as we are about to see, I am now forced to think again, for the Cathedral at Lincoln has drawn many a strange notion to itself, long before I came on the scene to publicise my own work.
The first mention I came across linking the Minster with the Devil was taken from the ‘Lindsey and Lincolnshire Star’ dated 21st May 1898, possible that the stories were genuine uninfluenced folk tales direct or remotely influenced by books. An article ‘Lincoln Minster and the Devil’ quotes; ‘The connection between the Prince of Evil and Lincoln has long been proverbial.’ The very erudite 1928 publication ‘The Cathedral Church of Lincoln’ by A.F. Kendrick, BA informs us that at the head of the tall central lancet of the gable of the chapel used as the Consistory Court is a grotesque figure – not to be confused with the Lincoln Imp found elsewhere – known as ‘the devil looking over Lincoln’. It quotes; ‘There appears to be no satisfactory solution of the origin of this phrase’ and ‘the most curious legend is that which describes the devil as still inside the Minster and afraid to come out for fear of being blown away!’ How completely and utterly bizarre! Do we know of any other religious building anywhere in the world where it has been said that the devil resides within? And, in our scientific world of 2009, how serious can we take this suggestion? In this day and age, how are we to interpret ‘Devil’? What can it seriously be hinting at or sustaining?
The 13th century legend of the Lincoln Imp, now symbol of the city of Lincoln, (which I have announced is a deliberately placed Masonic carving, key to a concluding location opposite the SE corner of the Cathedral concealing a Templar ‘treasure’ of great significance) tells of how the Devil sent an imp to cause destruction within the building and was eventually turned to stone by an angel – no mention of the Devil himself deigning to put in an appearance! Although there is clearly conflict here in what memory lore is being retained, what we can ask is why do we have this consistent association of Satan with the Cathedral?
In the South East Nottinghamshire village of Kinoulton, we hear of the legend of a stone that once stood in theold churchyard, although now neither stone nor church remain. The stone was told to be a diabolic missile hurled at the church, thrown from Lincoln Cathedral. It is accepted that similar stories throughout Europe simply reflect conflict between the early Christian church and paganism, so why in this instance if the offending rock was considered diabolical was it hurled FROM Lincoln Cathedral? Even the most respected of accounts do the Cathedral no favour when we learn of the title of its beautiful Rose Window, found on the North side of the Cathedral even though thenorm is for Rose Windows to be always to be found on the West of Gothic Cathedrals. Although preferably known as ‘The Dean’s Eye’, it also bears the lesser known title of ‘Lucifer’s Eye’ and has been placed at the North referred to as the darkened region of Lucifer as a kind of look-out to ward off the approach of evil, in contrast to ‘The Bishop’s eye’ round window staring out at the sunny South, the direction favoured by the Holy Spirit.
The mention of Lucifer brings me to the strangest and most fabulous of tales I have come across involving Lincoln Cathedral. Found circulating on the internet, it appears to have emanated originally from an alleged Templar in Rome and speaks of ‘The Ark of Lucifer’, an artefact said to control the lifespan of humans, no less! Placed in the Cathedral,it is alleged to work on a vibratory frequency affecting changes at the molecular level of living tissue, or the key of the DNA. We are asked to believe that during the 1920’s, of 144 people knowing of its existence and issued with a key, only 12 held the real key to opening a vault in the Cathedral where the Ark was and presumably still housed. This occult tale goes on to say that the Ark was originally at St Mary’s church in Lincoln, and that Bishop Alexander’s attempt to retrieve it caused the devastating fire that ravaged the building in 1141, and that after it was rebuilt, another attempt, this time by unknown persons, precipitated the Ark to cause the earthquake that cleaved the edifice in two, this tremor factually recorded in 1185.
The opening of the Ark is a precise and dramatic procedure. If we are to believe it, there is a Master Key held somewhere within the Cathedral, described as a corkscrew with the representation of the Cathedral as a handle. The functioning valid 12 keys are to be inserted into a metallic 4x4 with holes placed at a varying distance to each other. Inserting the 12 keys into the 4x4 allows the head of the corkscrew to protrude on the side of the door of the vault of the Ark. There are a number of rectangular holes from the ground to the ceiling with only one correct spot where the Master Key will open the door. The remaining other keys do serve a purpose but only after the opening of the vault. And so we have just learned of the ‘Ark of Lucifer’ hidden somewhere in a vault within the Cathedral and with no end of occultists seeking the key to open it and unleash its consequences. The pure Indiana Jones aspect of the tale is appealing, but we cannot help but have to accept that here again we have at least a reoccurring theme concerning Lincoln Cathedral, this time wrapped up in a titular Lucifer, and with an already established ‘Eye of Lucifer’ Rose Window we must ponder over what kernel of truth is being contained within this Gothic temple. The name Lucifer, in Latin, means ‘morning star’, and interestingly enough just a few minutes walking distance away from the East of the Cathedral is the public house ‘Morning Star’, dating back to 1781 thevery year that the once standing church containing the crypt with my hidden ‘Cathedral Code’ Templars’ treasure was demolished, additionally in the same year that French noblewoman Marie De Negre, who held the secret of Rennes-le-Chateau, died.
Another mention of Lincoln Cathedral and esotericism caught my eye in the heavily theosophical article ‘A Précis of Albion’ by author Richard Leviton in 1991, where he postulates the lay out of a giant cosmic ‘being’ occupying the land mass of Britain and France and whose second chakra – or energy field – is at Lincoln Cathedral and environs. Intrigued by his placing geographical emphasis on Lincoln Cathedral to do with anything, I contacted Richard, now an editor of a metaphysical magazine in Virginia, USA, to see if he would elucidate, and I found hisreply quite surprising. Richard had written more about the Cathedral since his Albion article, in a book entitled ‘The Emerald Modem’ where he described in detail an event he participated in with a small group to do with a celestial being ‘imprisoned’ under the Cathedral and alluding to the structure of the building as a perpetual black magic ritual intended to keep the being imprisoned, ultimately the Cathedral opposing the positive energy that is there. At this point, having learned of an ‘Ark of Lucifer’ and now an imprisoned spiritual energy within the Cathedral, I can imagine the average person in the street would choose to dismiss these assertions as simply fanciful and of no importance. But I’m not so sure, and cannot dismiss asking the question’ Why Lincoln Cathedral’ and especially as they are drawn from unrelated sources?
The common denominator of a hinted dark force receives a most unexpected recommendation nationally announced in 1995 and from the then Dean of the Cathedral himself, Rev Brandon Jackson. Within my personal files I hold a copy of ‘The Sunday Times’, the crème-de-la-crème of British newspaper journalism and a copy dated 23rd July 1995. The two page headline reads; ‘Where Angels fear to tread’, sub-headed ‘Is the dispute between the Dean of Lincoln cathedral and his Bishop mere human frailty or is it the work of an evil force many believe haunts the Minster?’ The Rev Jackson, acquitted by an ecclesiastical court of accusations of sexual misdeeds, announced that he believed he was caught up in a battle of good and evil that centres on the ancient Minster, and asked to have the Cathedral closed for three months to have it exorcised. Upon his arrival and stay lasting six years, he had first been alerted to this dark aura by a monk working at the Cathedral,’There are currents of conflict, hate and evil that have been swirling around your cathedral for centuries.’ Jackson went on to say to the Times reporter Stuart Wavell that this ‘swirling evil’ theory had been repeated by Deans and Provosts at their annual conference in April of that year. ‘One of them,a Dean of a cathedral, came up to me and said that Lincoln cathedral was one of the most evil places he had ever been in. Another Dean said that he believed the building sat on the junction of ley-lines.’ Mighty strange talk coming from the clergy! Would they dare say such things and risk credibility and reputation if there were no unified belief? The opening paragraph of the Times’ article reads, ‘Is there seething inherently evil lurking in Lincoln Cathedral? Is a malign force in the ancient stonework making the clergy behave like demented marionettes?’ Strong stuff from a quality newspaper not known for its sensationalism! So what can we deduce fromthis mixed bag of inferences, the Devil still being inside the Cathedral, a hidden vault containing an Ark attributed to Lucifer, and a spiritual being held captive within the Minster? My own feelings are that the story of the Lucifer Ark may well be a memory tool to highlight the numbers 12 and 144 and could have a value concerning sacred geometry within the Cathedral, ‘ark’ may actually refer to ‘arc’, part of the circumference of a circle or other curve. Richard Leviton’s thoughts on there being a figure of some importance held captive may well be an unconscious tapping in and offshoot of my own work in which I have announced the stashed and most sought after Templar treasure of Rennes-le-Chateau residing opposite the SE corner of the Cathedral at the St Margaret’s burial grounds, involving the revered figure of Mary Magdalene. Of these stories more than that I cannot say or be sure, but at least I now know I do not stand alone in finding my way to Lincoln Cathedral and into a labyrinth of mystique.
I will end these findings as I started, with that of my own work, and an anecdote that found its way to me in 2000. Circumstances found me in discussion with a lady in her fifties whom I will refer to as ‘Sylvia’. Her maiden name and relations placed her within the family D’Arques and she had relatives living at the chateau of D’Arques at Rennes-le-Chateau. Sylvia introduced the conversation and yet at the same time was reluctant to go into great detail as it clearly bears a scarring, traumatic effect, and so I do not know what year she and a female friend where spending some days at the Bishops Palace, facing Lincoln Cathedral, during a spiritual retreat. Things couldn’t have gotten further desperate and unwelcome when apparently the two were visited at night by an appearance from the Devil himself, bent on destroying their sanity. Sylvia told me how in the midst of this psychic onslaught and the most dreadful stench one could imagine as the prominent feature of the presence, the females resorted to furious and unrelenting prayer throughout the night and into the welcome arrival of morning, their only shield against the intense harrowing and vile assault. The incident succeeded in as much as it destroyed their friendship after such an ordeal with no seeming rationale as to what had brought it on. She refuses to speak further of it even today, as does Brandon Jackson about his troubled days in office. Assuming there is some validity in her story – and I see no reason to disbelieve her account on whatever level it manifested – could it be that it was simply confirmation of what Jackson stated as being the conviction held by many senior clerics in the Church of England – Lincoln Cathedral, for whatever conclusion, IS a battlefield between Good and Evil ?

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Giant Skeletons

The mystery surrounding reports of “giant skeletons” has always intrigued and fascinated me. Specifically, how it seemed to be a common ocurrence that human-like bone remains, often of giant proportions, were known for popping up everywhere in the mid-to-late 1800s, as featured in reports like these:

During an 1879 excavation of an Indian mound near Brewersville, Indiana, a nine-foot eight inch skeleton was found buried within. Around the same time, George W. Hill, M.D., also unearthed a skeleton said to be “of unusual size” while excavating a mound in Ashland County, Ohio. In 1880, American Antiquarian, volume three, reported that a Doctor Everhart allegedly found another large skeleton “reported to have been of enormous dimensions” in a strange clay coffin along with a sandstone slab marked with unidentified hieroglyphics near Zanesville Ohio. In 1881 in Medina County, Ohio, a succession of nine bodies were found below the cellar of a house, buried as though the corpses had been “dumped into a ditch.” Albert Harris, one of the residents, was twenty years old at the time of the grave’s discovery, and removing one of the large skeletons, said that he could literally fit the piece over his entire head and allow it to rest on his shoulders like a large helmet, even while wearing a cap underneath! Still, we’ve all heard of how even well known authors of the era, including Mark Twain, contributed to the telling of “whoppers” in their day; that is, many writers who got their feet wet as newspaper writers for dailies would occasionally cook up tall tales when local news just wasn’t doing it (see a great example of this here). Eventually, I decided to try and find out if there might be any reports that could be verified with more certainty, and after some digging around in public domain archives, I found a couple.

In their 1894 report to the secretary of the Smithsonian Institute, Cyrus Thomas and Thomas Powell of the Bureau of Ethnology wrote of several discoveries where large human skeletal remains were found, the first ocurring in Roane County, Tennessee:

“Underneath the layer of shells the earth was very dark and appeared to be mixed with vegetable mold to the depth of 1 foot. At the bottom of this, resting on the original surface of the ground, was a very large skeleton lying horizontally at full length. Although very soft, the bones were sufficiently distinct to allow of careful measurement before attempting to remove them. The length from the base of the skull to the bones of the toes was found to be 7 feet 3 inches. It is probable, therefore, that this individual when living was fully 7½ feet high.”

And yet another instance, this time in presumed Indian burial mounds at Dunlieth, Illinois:

“Near the original surface, 10 or 12 feet from the center, on the lower side, lying at full length on its back, was one of the largest skeletons discovered by the Bureau agents, the length as proved by actual measurement being between 7 and 8 feet. It was clearly traceable, but crumbled to pieces immediately after removal from the hard earth in which it was encased….”

Indeed, it seems that the Smithsonian at one time reported oddities like these which they uncovered, especially during the “giant boom” of the late nineteenth century. Still, I can’t help but ask; if these kinds of discoveries were ever at all commonplace, why aren’t skeletons and other anomalies like this found more frequently in modern times… or are they?

During an email exchange I had last year with my good friend and mentor, Brad Steiger, we began discussing a few similar reports which he had included in his book Worlds Before Our Own, where a few such skeletons were said to exist in private museums. ”After the book was published, I learned of even more and included photos of them in my lectures,” he told me. ”Soon, individuals beseeched me to cease; the private museums were mysteriously suffering unexplained fires.” One is left to ask; what about anomalous relics of this (or any) sort could be so worthy of censorship on such a level?

Further complicating the mystery of missing giant bones is the following exerpt from an article I wrote which included the inquiries of the late zoologist Ivan T. Sanderson, best known for his interest in the legends regarding America’s Bigfoot and the Abominable Snowmen alleged to reside in the Himalayas:

“Sometime in the 1960s, Sanderson wrote about an odd letter he received regarding an engineer who, during World War II, had been stationed on the Aleutian island of Shemya. While building an airstrip, the bulldozing of a group of hills in the area led the engineer and his crew to unearth several sedimentary layers of human remains. They noted the extraordinary length of the crania and leg bones at the site, having apparently belonged to people of gigantic proportions. The skulls were said to have measured up to 24 inches from base to crown, far greater than the length of an average human skull. Also of interest was that each was said to have been trepanned, the strange process of drilling or cutting a hole and removing a top center portion of the skull, thought by some ancient cultures to enable a variety of alleged “benefits”, including psychic abilities, etc. Sanderson actively began to search for more proof of this incident, and later was able to contact another member of the unit who also confirmed the bizarre story. By all accounts, the remains were said to have been gathered by the Smithsonian Institution, but no record of where they were taken was ever issued. Sanderson seemed convinced that the institute did indeed retrieve them however, going so far as to ask ‘is it that these people cannot face rewriting all the textbooks?’ “

Do I honestly think that there are MIBs out there spiriting away giant skeletons into an unmarked warehouse someplace? Not at all… but I think it’s safe to suppose (at least for the sake of a good pun) that someone may have a few “skeletons in their closet” that they just aren’t talking about!

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The Mystic Lamb

The Ghent Altarpiece, also known as the Mystic Lamb, was completed in 1432 by Flemish Primitive Jan Van Eyck. The painting is surrounded by mysteries concerning, possibly, the Holy Blood(line) of Christ... This also is the reason why the panel of the Just Judges got stolen, the thiefs got killed and the Nazi's were very interested in the mystic masterpiece...

The Ghent Altarpiece, also known as the Adoration of the Mystic Lamb, completed in 1432 by the Van Eyck Brothers (Hubert & Jan), is a large and complex polyptych, originally made for the Joost Vyd Chapel in Saint Bavo Cathedral, Ghent, Belgium. In the eighties, for security reasons, it was removed to another chapel in the cathedral. The Mystic Lamb is regarded as a true artistic highlight of Christianity and of Western civilisation. It is said - but it's not sure - that Hubert Van Eyck started the work and his brother Jan, the famous Flemish Primitive who was attached to the court of the Duke of Burgundy, finished it.

A Masterwork of Mystery

The Ghent Altarpiece consists of a complex series of 24 scenes, with two doors and a central piece which is showing some saints and apostles adoring the Mystic Lamb, or the symbol of Jesus Christ. From the panels to the left and to the right, pious hermits and pilgrims, Just Judges and Knights of Christ are approaching the ceremony in the middle. The upper register shows Christ as a King, between the Virgin Mary and John the Baptist, Adam and Eve. Inside, there are angels singing and making music.

The oil painting offers intricate details and composition, unrivaled realism, mystical meaning and a translucent use of colour which is responsible for the beautiful light. Over the centuries, the masterpieces has retained its luminous colours.

The polyptych, surrounded by mystery, has always been the main attraction of the impressive cathedral of Saint Bavo. After being kidnapped by the French revolutionary forces, some panels of the Mystic Lamb returned to Ghent. In 1816 however, the panels were sold for 100.000 guilders to an antiquary, while the bishopric knew they had a value of at least four times this sum... and indeed, the panels were sold very soon to a museum in Berlin for 400.000 guilders. At the end of the 19th century, these panels were cut lengthwise. In 1919, thanks to the Treaty of Versailles, they returned to Belgium again. Oh yeah, and what are the Knights Templar doing on this very catholic piece of art?

Maybe the greatest mystery of the many mysteries surrounding the Mystic Lamb, was caused by the lower left panel, called the Just Judges. The original panel got stolen in 1934, has never been found and was replaced by a copy. It's Belgium's most famous unsolved mystery. Countless amateur and professional sleuths are still tracking clues. In a BBC interview with crime writer Minette Walters, Ghent's former police chief Karel Mortier referred to the theft as "the art crime of the century".

The Theft of the Just Judges

In the night of April 10, 1934, two panels - the Just Judges and St. John the Baptist - measuring 1.49 x 55.5 centimeter, were stolen from the cathedral. On May 1, the bishop of Ghent received a letter, which said that the sender possessed both panels. The letter was signed "D.U.A.". Provided he would receive 1 million francs for the Judges, he would return St. John without any charge. DUA asked the bishop to answer him through an advertisement in a newspaper, and St. John was delivered at the railroad station Brussels-North. But instead of the requested sum, the authorities only wanted to pay 25.000 francs... and the Just Judges did not return home.

November 25... Arsène Goedertier, aged 57, a broker who lived and worked in the small town of Wetteren, aged 57, collapsed after a speech at a political rally. On his death bed, he informed his friend Georges de Vos in private that he had a file on the crime at his home. Goedertier tried to say more... but finally took the secret in his grave. Later, the police found in his home carbon copies of the messages which had been sent to the bishop by DUA. Only one single cryptic line spoke of the possible whereabouts of the Judges: the panel was "in a place where neither I nor anyone else" could recover it drawing attention.
The wife of Arsène Goedertier revealed that her late husband was an avid reader of detective novels and a true fan of Arsène Lupin, the hero in some of Maurice Leblanc's mystery novels. Arsène, of course, was also Goedertier's first name, and Lupin was a "gentlemen thief". Goedertier had read The Hollow Needle (L'aiguille creuse) several times. The theme of the novel was "art thefts". Arsène Goedertier undoubtedly felt inspired by Arsène Lupin, who always left a trail of coded messages after his thefts. Goedertier used a similar code in his ransom notes.

Arsène Goedertier was an eccentric, but although he might have typed and mailed the ransom notes, I doubt he was the original thief... and he sure didn't act alone. The broker from Wetteren was in a very healthy financial situation. Maybe he chased some sort of a symbolic revenge. Indeed, Goedertier is said to have been "angry" at the Catholic Church.

Since 1956, former police chief Karel Mortier has dedicated himself to the search for the Lost Judges. Mortier beliefs the panel was hidden somewhere in Saint Bavo Cathedral. X-ray investigations however were fruitless. Another policeman, Chris Noppe, is convinced that the Judges are hiding in the coffin of King Albert I. A few months before the theft, the Belgian King - the hero of the Great War - died in a climbing accident, which was possibly a set up for murder. The body of King Albert I now lies in the crypt of the royal family in the palace of Laeken, near Brussels. Belgium's own Miss Marple, Maria De Roo, is defending a conspiracy theory, claiming the authorities retrieved the panel. And I think Goedertier and two accomplices worked for Himmler's SS and were murdered when they double-crossed a nazi agent.

Van Eyck, neo-Templar and alchemist

I do believe Van Eyck's painting held a "Da Vinci Code", containing information the true whereabouts of the Holy Grail, also known as the Holy Blood(line) of Christ. In the 16th century, Jan Van Eyck already was described by art historian Giorgi Vasari as an alchemist, suggesting he was a member of a secret brotherhood. In his article 666 = Satan's Song? - Part 2: The Just Judges and Otto Rahn, Philip Coppens says that modern freemasons have noted how Van Eyck depicted a working lodge in a drawing of Saint Barbara.

Jan Van Eyck entered the service of Philip the Good in 1425. The Duke of Burgundy was moving his court between his palaces in Brussels, Lille and Bruges. Van Eyck resided in Lille and mostly in Bruges, where he died in 1440. He performed certain missions for the Duke, but the exact nature of these missions has remained unknown. Both men were very close, the Duke served as godfather to one of Jan's children.

While working on his masterpiece, Jan's patron established the Order of the Golden Fleece. The name has never been fully explained, but it is no secret that Philip was very interested in alchemy. In his palace in Brussels for example, he installed a real "alchemical room". Though Van Eyck was employed by Philip the Good, he took the commission for the Vyd family. He knew he would have to spend a great amount of time on this Ghent Altarpiece. So, even if Jan only completed what Hubert had begun, he needed the consent of his patron. But that seemed to be no problem at all.

The Mystic Lamb clearly depicts Jesus as a King. This was very uncommon in medievalor Gothic paintings. It was also very uncommon in 1432, and even dangerous, to depict a bunch of arch-heretics on your piece of art. Under pressure of King Philip of France, in 1307 many of the Knights Templar were arrested, tortured - so they would give false confessions - and burned at the stake. The Order was disbanded by Pope Clement V in 1312 on the charge of religious heresy and sexual misconduct.

So, here is one of the great Mysteries of the Lamb of God: what are the Templars doing on this "true" catholic masterpiece? The title of the panel is "Milites Christi", Soldiers of Christ, the official name of the Knights Templar. Moreover, they don't look like sinners who are seeking forgiveness, do they? No, this one knight in his shining armour rides with great kings and noblemen, bearing the shield and the banner of the Temple!

On the Ghent Altarpiece, the Mystic Lamb is spilling his blood in the Cup of the Last Supper. This bleeding lamb is common christian iconography, but the Agnus Dei (Lamb of God) and the Chalice usually doesn't show up together with the Templars, who were regarded as the keepers of the Holy Grail... or the secret of the Holy Blood(line) of Christ.

The Nazi Plot Theory

I have developed the "Nazi Plot Theory" for the first time in a book called Mysteries of the Mystic Lamb (Mysteries van het Lam Gods, 1991). Adolf Hitler came into power in 1933, just a year before the Judges got stolen. I do think the Nazi's commissioned the theft, because of the mystic and heretic connotations of Ghent Altarpiece. Hitler wanted to seize the iconography of the Mystic Lamb and incorporate it into the Holy Canon of his own "Arian" religion, that had to compete with Christianity.

The Mystic Lamb should be read as a code and some of the panels could be incorporating documents or a map, concerning the Holy Blood brought by the Knights Templar and Thierry of Alsace, Count of Flanders, to Bruges. The first Grail story was commissioned by his son, Philip of Alsace. In the late 19th century the chaplain of the Holy Blood Chapel in Bruges seems to have turned into a satanist. His tale was told by Joris-Karl Huysmans in his book Down There (Là-Bas) and preceded that other story of a satanist priest, who found a treasure and/or a secret concerning the Templars, the Grail and the Holy Blood(line) of Christ. In other words, is the story of Bérenger Saunière, the parish priest of Rennes-le-Château, nothing else than an echo, a hoax, part of a disinformation project designed to turn the eyes of the world to southern France, so that the true secret could remain a secret?

The obsession of the top Nazi's for the Ghent Altarpiece is a matter of record. During World War II, the Ghent Altarpiece was stolen by the SS and hidden in a salt mine near Salzburg. A special agent was sent to Belgium with only one task: finding the Judges! It was to SS-officer Henry Koehn that Goedertier's widow spoke of her husband's fascination for The Hollow Needle. Interestingly, Leblanc's stories of Lupin, a character he created in 1905, showed a great number of indirect references to the mysteries of Rennes-le-Château...

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