March 29, 2011
mythical symbolism in this part of our consciousness
hologram, sent me on a quest to update the Rosslyn
Chapel file and review the research of my friend Stuart
Mitchell who wrote the "Rosslyn Motet" linked to the
universal patterns of Sacred Geometry.
It's all spiraling consciousness playing in a simulation
and heading home.
The Cubes and the Apprentice Pillar
Spiraling Column - DNA Symbology - Consciousness
Rosslyn Chapel, or the Collegiate Chapel of St Mathew as it was to
have been, was founded in 1446 by Sir
William St Clair, third and
last St Clair Prince of Orkney.
It is in fact only part of the choir
of what was intended to be a larger cruciform building with a tower
at its centre.
More than thirty-seven collegiate churches were built in Scotland
between the reigns of James I and James IV (1406-1513). They were
secular foundations intended to spread intellectual and spiritual
knowledge, and the extravagance of their construction depended on
the wealth of their founder.
After Sir William died in 1484, he was buried in the unfinished
Chapel and the larger building he had planned was never completed.
But the foundations of the nave are said to have been excavated in
the nineteenth century and found to extend ninety-one feet beyond
the Chapel's original west door, under the existing baptistery and
What was built however is extraordinary enough,
'This building, I
believe, may be pronounced unique, and I am confident it will be
found curious, elaborate and singularly interesting, impossible to
designate by any given or familiar term' wrote Britton on his
Architectural Antiquities of Britain (1812), adding somewhat
despairingly that its 'variety and eccentricity are not to be
defined by any words of common acceptation.'
The principal authority on the history of the Chapel and the St
Clair family is Father Richard Augustine Hay, Canon of St Genevieve
in Paris and Prior of St Piermont.
He examined historical records
and charters of
the St Clairs and completed a three volume study in
1700, parts of which were published in 1835 as A geneologie of the
Sainteclaires of Rosslyn.
His research was timely, since the
original documents subsequently disappeared.
Of the founder Father Hay said this:
Prince William, his age creeping on him, came to consider how he had
spent his times past, and how he was to spend his remaining days.
Therefore, to the end, that he might not seem altogether unthankful
to God for the benefices he received from Him, it came into his mind
to build a house for God's service, of most curious work, the which
that it might be done with greater glory and splendor he caused
artificers to be brought from other regions and foreign kingdoms and
caused daily to be abundance of all kinds of workmen present as
masons, carpenters, smiths, barrowmen and quarriers... the
foundation of this work he caused to be lain in the year of our Lord
1446, and to the end, the work might be more rare, first he caused
draughts (plans) to be drawn upon eastland boards [imported Baltic
timber], and he made the carpenters carve them according to the
draughts thereon and he gave them to for patterns to the masons,
that they might cut the like in stone and because he thought the
masons had not a convenient place to lodge in... he made them build
the town of Rolsine that is now extant and gave everyone a house and
He rewarded the masons according to their degree, as to the
Master Mason, he gave nearly 40 pounds yearly, and to everyone of
the rest, 10 pounds.
Sir William's son and successor to the Barony of Rosslyn, Sir
St Clair, roofed the choir with its stone vault but did no more to
fulfill his father's original design.
The Chapel was generously endowed by the founder, with provision for
a provost, six prebendaries and two choristers, and in 1523 by his
grandson, also Sir William, with land for dwelling houses and
On February 26, 1571, however, just forty-eight years after his last
endowment, there is a record of the provost and prebendaries
resigning because of the endowments being taken by 'force and
violence' into secular hands as the effects of the Reformation took
The Presbytery records of Dalkeith reveal that in 1589 William Knox,
brother of John Knox and minister of Cockpen, was censured,
baptizing the Laird of Rosling's bairne' in Rosslyn Chapel, which
was described as a 'house and monument of idolatrie, and not ane
place appointit for teiching the word and ministratioun of ye
The following year, the Presbytery forbade Mr
minister of Lasswade, from burying the wife of a later Oliver St
Clair in the Chapel.
The St Clairs had not yet succumbed to the
Reformation and remained Roman Catholics.
This Oliver St Clair was repeatedly warned to destroy the altars in
the Chapel and in1592 was summoned to appear before the General
Assembly and threatened with excommunication if the altars remained
standing after August 17th, 1592.
On August 31st, the same George
Ramsay reported that 'the altars of Roslene were haille demolishit'. From that time the Chapel ceased to be used as a house of prayer and
soon fell into disrepair.
In 1650, during the Civil War, Cromwell's troops under General Monk
attacked the castle and his horses were stabled in the Chapel.
On December 11th, 1688, shortly after the protestant William of
Orange had landed in England and displaced the Catholic James II, a
mob from Edinburgh and some of the villagers from Roslin entered and
damaged the Chapel. Their object was to destroy the furniture and
vestments, which were now regarded as Popish and idolatrous.
The Chapel remained abandoned until 1736, when St James St Clair
glazed the windows for the first time, repaired the roof, and
the floor with flagstones. The boundary wall was also built at this
When Dorothy Wordsworth visited the Chapel on September 17th, 1807,
'Went to view the inside of the Chapel of Roslyn,
which is kept locked up, and so preserved from the injuries it might
otherwise receive from idle boys, but as nothing is done to keep it
together, it must, in the end, fall. The architecture within is
Further repairs to the Chapel were undertaken at the beginning of
the nineteenth century and in 1861 it was agreed by James Alexander,
3rd Earl of Rosslyn, that Sunday services should begin again.
instructed the Edinburgh architect David Bryce to carry out
restoration work. The carvings in the Lady Chapel were attended to,
stones were relaid in the crypt and an altar established there.
Chapel was rededicated on Tuesday April 22nd, 1862, by the Bishop of
Edinburgh and the Bishop of Brechin preached from the text,
Lord, I have loved the habitation of thy house, and the place where thine honour dwelleth'.
The Reverend R. Cole, then resident military chaplain at Greenlaw
Barracks near Penicuick, became private chaplain to the Earl. Lady
Helen Wedderburn, daughter of the 7th Earl of Airlie, who lived
nearby at Rosebank, organized a subscription from which some of the
interior fittings were provided.
In 1880-1, Francis Robert, 4th Earl of Rosslyn, added the apse to
serve as a baptistery with an organ loft above. The work is by Andrew
Kerr. The Earl also filled the baptistery arch with the handsome oak
tracery which you see today, decorated with his crest. Together with
the two Chapel doors, this is the only wood used in the construction
of the building.
The cost of the work was seven hundred and fifty eight pounds, eight
shillings and six pennies, with a further thirty four pounds and
eighteen shillings to Andrew Kerr for fees.
Kerr told the Earl that
a party of visitors,
'had remarked that it was wonderful that such
young men should be entrusted to execute such carving,' to which the
estate factor 'very coolly replied, that it was not wonderful here,
as the finest pillar in the Chapel was the work of an apprentice
The Earl was happy with the work and in a letter to Kerr on November
'I must say that the author pronounces your building a
In 1915, a report on the fabric by Sir
Robert Lorimer observed:
'The stone work of the Chapel is in fairly good order and requires
very little done to it... a few of the stones are crumbling but not
to the extent to cause any alarm. The condition of the roof is not
satisfactory... and there are a number of gaps and cracks all over.'
He recommended that the exterior of the roof be covered with asphalt
and this was carried out.
In 1942 the Chapel was almost closed for a second time when a
government official called Robertson wrote to the Minister of Labour,
Ernest Bevin MP,
'that the Episcopalian Church at Roslin was almost
empty every Sunday... on a recent Sunday there was a congregation of
only two, and apart from the Clergyman's labour there must be other
workers employed in cleaning and looking after the church and I
suggest that steps are taken to close it down.'
A copy of the letter was sent to Gwilym Lloyd George MP, the
Minister of Fuel, who in turn wrote to the Secretary of State for
Scotland in the following terms;
'I enclose a copy of a letter from
David Robertson which causes me considerable embarrassment, who am
I, a Welshman, that I should do anything that might imperil the
eternal salvation of one Scottish Episcopalian. In any case, from
the fuel point of view, I doubt whether I would be justified in
securing a small economy of fuel in this world at the possible cost
of a disproportionate expenditure of it on myself in the next.'
Chapel remained open.
Further work was carried out by Anthony 6th Earl of Rosslyn, in the
1950's when the crypt roof was repaired and the interior carvings
cleaned by hand over a period of several years. He also added the
stained glass windows in the baptistery.
A report of May 1954 from
the Ancient Monuments Branch of the Ministry of Works records that,
'surfaces covered with green algae will be scrubbed down with stiff
bristle brushes... using a solution of .880 ammonia and water. Water
will then be used copiously until the surfaces are clean and free
from dirt and vegetation.
Flaky patches will be sealed off... Hollow
areas in ornament will receive special treatment by grouting... and
when the surfaces are thoroughly dry they will be hardened with
silica fluoride of magnesium at a rate of 1lb per two gallons of
This work was in accordance with the thinking of the time but not,
unfortunately, with current conservation philosophy.
The effect of
the magnesium fluoride - a cementitious slurry - was to seal the
internal surface of the masonry with an impermeable coating, so that
the stone became saturated with water containing soluble pollutants.
In addition, the coldness of the wet stone encouraged condensation.
A report in 1995 confirmed that damage was occurring and that
humidity in the Chapel was very high. It recommended that steps
should be taken to dry out the saturated masonry, remove if possible
the cementitious coating, and restore the permeability of the richly
carved inner surfaces of the Chapel.
In March 1997, a free-standing steel structure was erected to cover
the Chapel. It will enable the stone fabric of the roof vaults to
dry outwards, away from the carved interior surfaces. In due course
the bituminous felt, asphalt and concrete coverings of the stone
roof vaults will be removed to assist this process. Stone and mortar
repairs to the external walls, pinnacles, and buttresses, renewal of
the rainwater disposal arrangements, repairs to the stained glass,
and appropriate repair and conservation of the interior are all
The coverings over the stone vaulted roofs will be renewed
in lead and ways of removing the cementitious slurry are being
investigated, in order that this magnificent building can be
preserved for future generations to use and admire.
The year 2000 saw the Trust embark on a second phase of work.
jointly by The National Heritage Lottery Fund, The Eastern Scotland
European Partnership, Historic Scotland and the Rosslyn Chapel
Trust, this phase has a number of elements. Essential stabilization
works to the east boundary walls will protect the Chapel.
A new roof
of Caithness slate has been placed over the existing Crypt roof, and
the Priest's Cell and two more modern buildings beside the Crypt
have been made functional. The stairs to the Crypt have been
repaired and the access to the Crypt is now both safer and more of
Work has also been carried out to improve the
electrical services in the Chapel, repairs to the wooden screen at
the west end, and our interpretation of Rosslyn's story.
Rosslyn Chapel, originally named the Collegiate Chapel of St.
Matthew, is a 15th Century church in the village of Roslin,
The chapel was designed by William Sinclair of
the St. Clair family, a Scottish noble family descended from Norman
knights and, according to legend, linked to the Knights Templar.
Construction of the chapel began in 1440, and the chapel was
officially founded in 1446. Construction lasted for forty years.
Some authors have theorized that the Chapel's west wall is actually
a model of the Wailing Wall in Jerusalem and is part of the
structure by design, rather than proof of another intended stage of
building, which would have made the site about the size of a
The chapel has long been famous for its possible connections to
Freemasonry and its attendant rituals. This was first publicized by
Knight and Lomas, but it is also found in works by Michael Baigent
and Leigh and Tim Wallace Murphy (circa 1990), and the connections
entered mainstream consciousness when named in the novel
Vinci Code for its (possible) links to the Holy Grail.
Despite the fictitious nature of this work, its influence has been
The Scottish NGO The Friends of Rosslyn, which own the
land surrounding the Chapel and the Rosslyn Chapel Trust which
administers the Chapel, have both published a number of books and
literature on the Chapel.
Certainly the Chapel is used by the modern
Knights Templar (a masonic group rather than descendants of the military religious
order) for 'investiture' ceremonies, and because of its connection
to one of the more famous freemasons (William Sinclair) and also due
to the Masonic architecture and symbolism featured on the Chapel
walls, many Freemasons from all over the world visit it. Certain
points in its architecture are quite indicative of a Masonic, and
In addition to the theory that the Chapel was used by Freemasons and
Knights Templar is the claim that those groups, stationed at Rosslyn
Chapel, journeyed to North America and back before Columbus.
claim is based on several points:
some of what appear to be the
oldest graveyards in Nova Scotia (which means New Scotland)
have Masonic symbols and Crusader crosses on them
the Westford Knight is a rock
engraving in Massachusetts supposedly showing a Scottish
knight, linked to the Henry Sinclair party, with the Clan
most importantly, Rosslyn Chapel, although completed six years
before Columbus' voyage, allegedly has stone carvings in it of
plants unique to the Western hemisphere
Because of its rumored connections with Freemasonry, the chapel has
inevitably become listed as one of the possible final resting places
of The Holy Grail.
This is a possibility based on legends of 'Secret
Vaults' and the possibility that the similarities between Rosslyn
and the Temple of Jerusalem might be more than cosmetic.
The White Lady of Rosslyn Castle is said to hide a secret worth
'millions of pounds' - and some have suggested that this could be
The Grail or instructions on how to find it.
St Clair legend suggests that there are three big medieval chests
(probably the size of steamer trunks) buried somewhere on the
property, and this has inevitably led to various theories as to the
chests' contents. Past scanning and excavations in or near the
Chapel have not yielded any such chests.
Sealed chambers under the basement of the chapel, however, have yet
to be excavated for fear of collapse of the entire structure.
These chambers are filled with pure white Arabic sand - rumored to
have been brought to the chapel by the Knights Templar from the Dome
of the Rock - and ultrasonic scans have revealed six leaden vaults
within the sand.
It should be noted that it is only the Ruined Wall that is based on
the Temple of Jerusalem - the chapel itself most closely resembles
the East Quire of Glasgow Cathedral.
The Chapel is famous for its two pillars:
the Apprentice Pillar
the Master Pillar which,
...though next to each other, are carved
Masonic Architects believe these structures could
signify the pillars of Boaz and Jachin.
Most interestingly are the (pictorial) references to the Key of
Hiram, a significant piece of Masonic legend in the wall carvings,
and in depictions of the New World, purportedly showing maize and
aloe vera plants about a century before the discovery of North
America, suggesting pre-Columbus travel there (the La Merika
Also many archaeoastronomers believe that the walls are carved with
azimuths, that give co-ordinates for sites in Iceland (where the St.
Clairs supposedly originated) and across Britain.
In September 2007 a musical cipher hidden in mystical symbols carved
into the stone ceiling of Rosslyn Chapel was reported as being
unraveled by Scottish composer Stuart Mitchell. His feat was hailed
by experts as a stroke of genius.
The codes were hidden in 213 cubes in the ceiling of the chapel,
where parts of the film of Dan Brown's best-seller The Da
Vinci Code were shot. Each cube contained different patterns to form an unusual
6 minute piece of music for 13 medieval players.
The unusual sound is thought to have been of great spiritual
significance to those who built the chapel. The melody was
unraveled after Mr Mitchell discovered the stones at the bottom of
each of 12 pillars inside the chapel formed a cadence (three chords
at the end of a piece of music) of which there were only three types
in the 15th century.
Mr. Mitchell said the music sounded like a nursery rhyme.
wants to hear something miraculous but William Sinclair, who
designed the chapel, was an architect, not a musician," he said.
is evident from the nursery rhyme style of the music that he could
not play very well. It is in triple time, sounds childlike and is
based on plain chant which was the common form of rhythm of the
The strange combination of instruments in the piece includes
bagpipes, whistles, trumpet, a medieval mouth piano, guitar and
The Rosslyn Stave Angel - Music Cipher
In 2007, Stuart's CD and book, "The Rosslyn Motet", were complete
and hit the world by storm as researchers hope to unlock ancient
secrets through music:
Team cracks chapel's music 'code'
April 30, 2007
Stuart Mitchell discovered a series of figures which he calls an
"orchestra of angels" at the base of elaborate arches round the
altar, with each angel holding a musical instrument. He worked with
his father, Thomas, to decipher the patterns on cubes which jut out
from the arches.
Exclusive Da Vinci Chorus
April 22, 2007
Father and son team discover the Holy Grail of music hidden away for
600 years on the columns of Rosslyn Chapel.
A father and son code breaking team have discovered music's Holy
Grail - hidden in intricate carvings at Rosslyn Chapel for almost
600 years. Music teacher Thomas Mitchell, 75, strived for 27 years
before he and pianist son Stuart, 41, deciphered symbols in the
chapel which featured in
Vinci Code book and film.
will reveal the secret songs in a special concert at the Midlothian
chapel next month.
Thomas, of Edinburgh, said:
"The music is the
result of years of painstaking research, recreating secret notes
hidden for almost 600 years in carvings on the arches within the
"We believe this is the Holy Grail of music and,
unlike the Da Vinci Code, it is absolutely factual."
Thomas was intrigued by the sculpted angels and hundreds of
intricately carved cubes in the arches of the Lady Chapel.
skills learned as an RAF code-breaker during the Korean War and his
lifetime knowledge of classical music, he finally realized they
depicted the vibrations of musical notes.
"It was a Eureka
moment to end all Eureka moments.
"Many angels were carrying musical
instruments and some were even grouped as if they were a choir.
one angel gave me the biggest problem. He was carrying something and
at first I thought it was musical instrument which had been lost in
the mists of time.
"It was only when I realized that he was carrying
a musical stave, the blueprint for all musical composition, that I
knew I was looking at a secretly coded piece of music.
recreating the patterns on each of the carved cubes, with Stuart's
help, we unlocked the notes to find a haunting piece of music had
been hidden in the arches for centuries.
"For the choral sections,
we've used the words from the hymns to St John the Baptist taken
from Matthew in the Old Testament which is fitting because the
chapel itself is dedicated to St Matthew."
Stuart, a classical composer and pianist, used computers to decipher
the carvings' secret music. He has named the medieval music the
"I also used authentic mediaeval instruments
to recreate the music exactly and it truly is a masterpiece.
the Da Vinci Code was full of red herrings to make it a thrilling
work of fiction, the Rosslyn Motet music is a tangible work people
can listen to. For centuries, scholars have been convinced Rosslyn
holds the key to many different areas of knowledge.
"We think we've
cracked one particularly fascinating code, although we're convinced
Rosslyn holds many, many more."
Four singers will join eight musicians playing mediaeval instruments
to perform the Rosslyn Motet at Rosslyn on May 18.
Simon Beattie, of
the Rosslyn Chapel Trust, said:
"We're looking forward to the event
as this is a such an exciting and intriguing piece of work. The
music is particularly haunting and we cannot help feel this is yet
another of the many puzzles that make Rosslyn such an astonishing
Rosslyn Chapel was built by Sir
William Sinclair and Sir
Gilbert Haye in the 15th century.
Steeped in the history of the
Templar and Freemasonry, Roslyn's mysteries are famous worldwide.
Among the theories surrounding Rosslyn is that it is the secret
resting place of the Holy Grail, the Ark of the Covenant and even
the mummified head of Christ.
How They Did It
Carved angels and blocks above their head in arches of chapel
baffled Thomas until he realized this one was holding a musical
stave - and that the blocks signified notes.
Using this specially enhanced photo, Thomas and Stuart worked out
that the carvings above the angel represent A, B and C.
Thomas and Stuart used this metal plate to recreate the ancient
method of making notes. The plate is vibrated and sand poured on
until it forms a particular pattern - indicating the correct pitch.
The patterns match those carved into the arches of Rosslyn Chapel.
Tune into the Da Vinci Code
May 3, 2006
Rosslyn Chapel holds many secrets. For hundreds of years experts and
visitors alike have puzzled over the carvings in the chapel. Whilst
some debate whether they point to hidden treasure, Edinburgh
composer Stuart Mitchell thinks he has cracked one part of the
He believes that the ornate ceiling
of carved arches, featuring 213 decorated cubes holds a code for
His father Thomas Mitchell spent 20 years
cracking this code in the ceiling and now Stuart is
orchestrating the findings for a new recording called The
They hope that the music, when played on medieval instruments in
situ, will resonate throughout the chapel unlocking a secret in the
The breakthrough to interpreting the notation came when
Mitchell's father discovered that the markings carved on the face of
the cubes seem to match a phenomenon called
Cymatics or Chladni
Chladni patterns form when a sustained note is used to
vibrate a sheet of metal covered in powder producing marks. The
frequency used dictates the shape of the pattern, for example; the
musical note A below middle C vibrates at 440 KHz and produces a
shape that looks like a rhombus.
Different notes can produce various
shapes including flowers, diamonds and hexagons - shapes all present
on the Rosslyn cubes.
Stuart Mitchell believes this is "beyond
coincidence" and has assigned a note to each cube.
Ernst Chladni first documented the phenomenon in the late 18th
century - yet it appears to be present in a 15th century building.
Which begs the question:
"Was Sir William St Clair (the man who
built Rosslyn Chapel) familiar with sciences far in advance of his
Stuart Mitchell believes a link between the Knights Templar
who may have gleaned advanced Eastern scientific knowledge during
their stay in Jerusalem during the Crusades and Rosslyn could
explain the encoded musical notes.
"The symbolism in Rosslyn is
reaching back to times of a civilization that is lost to us now that
had sciences that are the roots of all the mechanics of the
universe," says Mitchell.
If this science was used in the carvings
at Rosslyn, then there needs to be an explanation of how this
information came to be lost for centuries.
According to Mitchell,
the Church suppressed the knowledge as a means of controlling the
"What it points towards is the church system denying people
certain knowledge because knowledge is awareness. People who knew
too much were burnt as witches."
According to Mitchell this is a Chladni pattern -
a way of showing a musical note by way of its vibrations.
Devil's Chord -
diabolus in musica - makes an
appearance in the music.
"In the ceiling is this jump of an
augmented fourth, in fact it opens up with an augmented fourth,"
Catholic Church had banned this interval (seven
semitones) from medieval music as it was believed to be disturbing
and therefore diabolical. Perhaps St Clair was indeed challenging
the authority of the church.
The music itself, according to Mitchell
is a mix,
"of Celtic melodies and secular worship crossed with a kind
of Christian worship" but not Catholic he says.
explains why carvings depicting
the green man, essentially a pagan
image, exist alongside carvings of Christ in the chapel.
and the Shetlands had a very big druid, pagan community and they had
their own culture of music," says Mitchell.
"William St Clair was
the last Earl of Orkney and some of the melodies in the ceiling of
Rosslyn Chapel are Orkney/Shetland Airs."
Mitchell doesn't believe that the notes were carved there simply to
record a piece of music. He hopes that the repeated frequencies in
the music will resonate within the building and unlock a medieval
Hopefully, knowing masons of this period of time were aware
of the acoustic properties and the effect of resonance upon stone,
we're hoping something falls loose it's like a safe. This is why we
think he [St Clair] has gone to so much trouble."
Mitchell has no
idea what may be hidden in the church, but believes that St Clair
used advanced science to ensure that the music was hidden from
Mitchell, dubbing the project "The Voice of Creation",
says the carvings on the cubes are ultimately about
"What it's saying is we've forgotten more than we know. Perhaps the
music is indeed a key to the past, the physics of the universe and
just maybe, played loud enough inside Rosslyn, it will unlock a long
lost secret hidden in the masonry.
Stuart and I discussed the 213 cubes on the ceiling and the
Apprentice Pillar, at the top of which we find the stave angels, and
at the bottom an
Ouroboros which takes us to
2012 and coming full
circle into the light.
Basically my father and I calculated
the frequencies of the 3 notes that the stave angel is pointing
out and it amounts to this:
At (ancient tunings)
A = 432
B = 488
C = 512
Gilbert Hay (fl.1432-1456) or Sir Gilbert the Haye, Scottish poet
and translator, was perhaps a kinsman of the house of Errol.
is the student named in the registers of the university of St
Andrews in 1418-1419, his birth may be fixed about 1403. He was in
France in 1432, perhaps some years earlier, for a "Gilbert de la Haye" is mentioned as present at Reims, in July 1430, at the
coronation of Charles VII.
He has left it on record, in the Prologue
to his Buke of the Law of Arrays, that he was,
to the maist worthy King Charles of France."
In 1456 he was back in
Scotland, in the service of the chancellor, William, Earl of Orkney
and Caithness, "in his castell of Roselyn," south of Edinburgh. The
date of his death is unknown.
Hay is named by Dunbar in his Lament for the Makaris, and by Sir
David Lyndsay in his Testament and Complaynt of the Papyngo. His
only political work is The Buik of Alexander the Conquerour, of
which a portion, in copy, remains at Taymouth Castle.
He has left
three translations, extant in one volume (in old binding) in the
collection of Abbotsford:
The Buke of the Law of Arms or the Buke of Bataillis, a translation
of Honore Bonet's Arbre des batailles
The Buke of the Order of Iinichthood from the Livre de l'ordre de
The Buke of tile Governaunce of Princes, from a French version of
the pseudo-Aristotelian Secrela secrelorum
The second of these precedes Caxton's independent translation by at
least ten years.
For the Bulk of Alexander see Albert Herrmann's The Taymouth Castle
Manuscript of Sir Gilbert hays Buik, etc. (Berlin, 1898). The
complete Abbotsford Manuscript has been reprinted by the Scottish
Text Society (d. JH Stevenson). The first volume, containing The
Buke of the Law of Arms, appeared in 1901. The Order of Knighthood
was printed by David Laing for the Abbotsford Club (1847).
See also SFS edition Introduction and Gregory Smith's
Specimens of Middle
Scots, in which annotated extracts are given from the
Manuscript, the oldest known example of literary Scots prose.
At (modern tunings)
A = 440
B = 493
C = 523
1456 (the year Sir Gilbert Haye Died)
Check out this link -
The Octave: Tuning at A432 or F432 Pitch:
A440 or A432
The serpents round the bottom of The Apprentice Pillar looks Chinese
to me, which might also explain a lot about
Gilbert Hay's trip to
China and his interest in vibrational harmonics. A serpent
swallowing its tail, sounds like the Rings of Saturn.
About the Cubes
There were originally 215. Two of them have been broken off and lost
in the past 500 years with no apparent explanation of why or how
215 does not make a significant number but 216 would.
216 as you know Ellie is a cosmologically important number. We know
that Earth's polar circumference is 21,600 nautical miles, or
'minutes of latitude' arc. It is also interesting that "our" math
conventions use 21,600 arc-minutes as the circumference of 'any'
circle or sphere.
One of the most ancient and most celebrated sacred places of our
planet is the temple of Lord Shiva Nataraja in the South Indian City
of Chidambaram. Here Lord Shiva dances his dance of creation and
dissolution. The Dance of Cosmos. The hereditary priesthood which
have been the guardians of the Lord and his temple since the time of
its origins follow the Vedic pattern of ritual worship.
in which the Lord is performing his Cosmic Dance is called the
Cit Sabha, the Hall of Consciousness.
It is a wooden structure, which
differs in its shape form all other sanctums found in Indian
temples. And its corbelled shaped roof has been covered with golden
tiles from the time of its consecration. It consists of 21600 tiles,
representing the human breaths, and these are held together by
720,00 nails, representing the Nadis of the human energy body.
My suggestion is that there should be 216 cubes/rectangles on the
ceiling of Rosslyn (counting the 2 that are missing) because putting
all the cubes together into one BIG cube would give us 216. Also a
pattern will emerge when the correct sequence of smaller patterns
are merged together. The final note of the music maybe?!
216 is also 6x6x6 and many other connotations.
In the News...
Seeing the light
October 27, 2006
When he caught sight of the bright red pentagon glowing above the
great rose window of Rosslyn Chapel.
By rediscovering the light box,
forgotten for hundreds of years, Butler and John Ritchie, co-author
of Rosslyn Revealed, moved closer to illuminating their theory that
the truth about the chapel is even stranger than the fiction made
world-famous by Dan Brown.
Scribbles in the stonework of Rosslyn
August 18, 2006
Just when you think there can't be anything left to dig up when it
comes to secret codes and Rosslyn Chapel, another layer is
The latest mystery involving a carving scratched on the
wall of the crypt - doesn't involve the Knights Templar, the
bloodline of Christ or any ancient secret societies.
But for Ashley Cowie - who has spent the best part of a decade trying to work out
its meaning - the carving has huge global significance for Scotland
when it comes to the history of ancient navigation.
"What is down
there is an example of a lost system for measuring time and distance
involving both latitude and longitude. It's a priceless mapping
This navigational teaching board - if that's what it is - forms the
basis of Cowie's new book,
The Rosslyn Matrix, which presents his
case for Rosslyn Chapel having a cartographic explanation.
glance, the mysterious carving looks a bit like a miniature
electricity pylon with a latticed construction of uprights and
grids. At the top is the outline of a misshapen cup which has a
five-pointed star on one of the sides.
Inside the cup shape, stacked
on top of each other, are four diamond-shaped lozenges of different
lengths and widths.
The writing's on the walls
May 31, 2006
Great stonemasons settled next to the wooded glen to construct the
library in stone, a building alive with symbolism and bursting with