Dan Green
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Image Credit: Leonardo Da Vinci In 2005 local newspaper The Lincolnshire Echo ran the story ‘The Riddle of Jesus, the Last Supper and Lincoln’s own Da Vinci Code’ referring to the discovery of a dog on the platter at the scene of the Last Supper upon the Great East Window within Lincoln Cathedral. The notion of Lincoln Cathedral having its own Da Vinci Code appealed to me within an instant, I set about investigating it and the rest is now modern history. From the very onset, synchronicity played its part – the fellow who discovered the dog on the plate during repairs to the window had the word ‘cup’ in his surname, the Grail once held to be a golden cup or chalice, Tom Kupper, being leader of the cathedral glazing department. As I was making exciting progress in pursuing this chance find of a factual ‘Cathedral Code’, the most unbelievable announcement was made – in July 2006 Hollywood was going to come to film scenes for Dan Brown’s fictional ‘The Da Vinci code’, within the cathedral!
Here was I seeking to authenticate a factual code in there when the film version of the best ever selling work of fiction was about to tread on my toes and share the same stone floor. I thought this visiting significant synchronicity would never be repeated, but during March 2010 lightning struck again.
On March 12th, the 36.5 centimetre tall, 5kg solid gold soccer World cup, the most iconic sports trophy of all time, was going to pay a solitary visit in the UK during its global tour ahead of this years summer tournament in South Africa. Where to? The soccer giants of Manchester United, the world’s second richest club? London’s top two, Champions Chelsea or Arsenal? Previous European cup winners Liverpool, perhaps? No - against all conceivable odds and described in the Press as ‘truly fantastic’ and ‘totally unique’ it was brought to lowly second division football club Lincoln City of the fourth tier of the English football league system, at their Sincil Bank ground, lowered down by helicopter before the game with visiting Hereford United, as a token acknowledgement to the club’s 125th anniversary.
The news was a sensation and unlikely event to soccer fans in the city with waves of envy rippling through all other clubs and soccer followers in the country who would love a one-off chance to glance this cup of cups. If we remove the exoteric explanation for this still unlikely happening, we can take a look at the esoteric, for as many of us have learned or at least suspect, all is not exactly as it seems in this world, and deep multi-layered explanations abound for many far subtler reasons. With synchronicity now being a way of life for me, I immediately recognized the mechanism of the Collective Unconscious at work again and for a second time responsible for drawing a specific arrival to Lincoln. The symbology of the ‘blade and the chalice’ is a confirmatory requirement of the Grail seekers search even Dan Brown mentioning it in his ‘The Da Vinci Code’. And here it was, finally announcing itself in the very city where I had already placed evidence of the final resting place of the Magdalene. The helicopter (blade) bringing the world cup trophy (a golden chalice) – the blade and the chalice.
The original octagonal world cup with the title of ‘Victory’ and retired in 1974, was made of gold-plated sterling silver and lapis lazuli, depicting the female figure of the Greek goddess Nike, its replacement now depicts a male and female holding up the earth. After its incredible arrival in Lincoln, the trophy co- incidentally travelled to Paris where Dan Brown placed the Magdalene under the inverted pyramid at the Louvre. To explain the consequent synchronicities of this trophy arriving at Sincil Bank, we must take a look at the visiting team, Hereford United. Hereford Cathedral is the home of the 158cm x 133cm golden 13thC Mappa Mundi or ‘Map of the world’. It is attributed to Richard de Bello, Prebend of Lafford in Lincoln Cathedral but what also connects Lincoln Cathedral with Hereford is a medieval writer with an appropriate surname, Walter Map (1140-1210), chancellor of the diocese of Lincoln, later becoming Precentor and then later canon of Hereford. Map was long considered to be author of a lost prose version of the Lancelot story entitled ‘Quest of the Holy Grail’ on which later accounts of the Arthurian legacy were based. In the centre of the Mappa Mundi is placed Jerusalem. Three miles to the west of Lincoln Cathedral we have the uniquely named small village of Jerusalem. Curiously, the labels for Africa, host to this year’s World Cup, and Europe are in reverse. The connections deepen when we learn that the favoured nickname of Hereford United is ‘The Lilywhites’, the white lily being the emblem of Mary Magdalene. Lincoln City’s football ground, Sincil Bank, was built in 1895 the very year that Berenger Sauniere began his construction of the Villa Bethany.
The origin of the name ‘Sincil’ is a puzzle and is rather untraceable as British, but if we resort to the matrix of the Mother Tongue, the expression of the language of Collective Unconscious, it reveals the phonetic ‘Sign Seal’, and so now we have a synchronized collection of the blade and chalice of the Grail, a sign, and the seal, a means of authentication or attestation. The arrival of the world cup trophy, the blade and the chalice, brought about by human agency is the unconscious sign strengthening the belief that the Grail is in Lincoln.
My own investigations aided and abetted by arrangements from this Collective Unconscious and its tool of synchronicity, have placed a Templar treasure concerning the secret of a pregnant Magdalene opposite the East corner of the Cathedral, at the burial grounds of St Margaret. At this angle of the Gothic structure are two prominent carved figures presumed to be of King Edward I and Queen Eleanor, heavily restored in the 19thC and thought not intended to have originally depicted the couple. After her death and embalming - which involved evisceration – her viscera only was buried in her tomb in Lincoln, the rest of her remains at Westminster Abbey. Interesting synchronicities here are that the statue on the outside clearly shows a pregnant female. My own research has brought me to the conclusion a pregnant Magdalene was demised by a dagger assault and that enduring stories that she sired a bloodline by the birth of a daughter called Sarah is but myth, the name ‘Sarah’ evolving from remembrance of the fatal dagger wound to her viscera. (Vis-cera/Vis-Sarah) The statue of the gravid Eleanor looks directly over at the location of the marker tomb where my final location resides, and behind her, inside the cathedral, is her own viscera in a tomb placed under the Great East Window, the 1891 structure an exact copy of the original that was defaced and smashed by Cromwell’s men at the time of the Civil War. I suspect also that this is the tomb brought to the attention of Berenger Sauniere who mentioned in his casual diary entry for September 21st 1891 – ‘Letter from Granes, Discovery of a tomb. Rain in the evening.’ His Masonic punning on the word ‘rain’ has nothing to do with a commentary on weather conditions. It is more a reference to the figure whose tomb it is; in this instance that of Eleanor who had a ‘reign’ or time of reigning. ‘Evening’ has the meaning of ‘the decline or end of life’, and it is her tomb that is clearly a declaration of that finality. It may even be a reference to the Thomas Rayner, marker tomb. Eleanor, incidentally, is reputed to have saved the life of Edward when he was stabbed by a poisoned dagger from a Moors assassin – again the appearance of a dagger in our storyline. As there is no dispute that the original carvings had uncertain identities, is it possible that these statues were once showing the king of Heaven, Jesus, and his pregnant wife Mary Magdalene?
The Collective Unconscious, a tool that has aided and abetted me throughout my investigations, has no human limitation like the concepts of time and space; this is how it may offer omens in the timeless realm of dreamland. Here is one such example as brought to my attention by a regular correspondent who has learned the ways of attunement to this mechanism. To study the pregnant shepherdess figure in Poussin’s ‘Shepherds of Arcadia’ – who translates as our Queen Eleanor at Lincoln Cathedral - one could be forgiven for thinking that the female is a ghostly figure as the gathering shepherds show no indication of being aware of her presence, more like she is invisibly trying to comfort them at her graveside. The kneeling shepherd is painted to look very like the figure of Thomas, who has his finger pointing upwards, as seen in Da Vinci’s ‘Last Supper’. Note that the garb worn by the ghostly shepherdess is the same colour as the Mary Magdalene figure in Da Vinci’s canvass.
Next, we visit the enigmatic ‘Shepherd’s Monument, a 20’ high marble tablet mirror image relief copy of Poussin’s original, found at Shughborough Hall, ancestral home of the Earls of Lichfield in Staffordshire, England, and shown in a contrasting portrait format rather than Poussin’s landscape which some argue highlights the mountainous region of Rennes-le-Chateau in the background. There is an inscription at the foot of the monument which has never been conclusively decoded despite a number of claims and with speculative examples. Leaving some of these possible solutions alone, our need is to concentrate on the tombstone in the portrait as it is now higher raised from the ground than the Poussin scene, with an additional part typical of a popular Victorian embellishment. Surrounded by trees and what appear to be clouds,tablet is, of course, here in England, and so too may be what it is attempting to indicate, a tomb high up somewhere. Now we flip a photo of the monument so that it is no longer a mirror image of the painting but a mirror image of itself. The kneeling ‘Thomas’ shepherd stands out from the sculpture further than the other two and is directly pointed at by his adjacent shepherd. Thomas points to the famous, now reversed, ET IN ARCADIA EGO inscription, his thumb pointing to the letter ‘R’ and his finger which is now ‘missing’ would have pointed to the letter ‘N’. Between the two is a letter ‘A’ and a space – missing letter. In our reversal, this ‘Thomas’ figure is pointing to ‘RA_N’...could the missing letter have been a ‘Y’? Either way, ‘R AN’ with phonetic emphasis on the ‘A’ produces a sounding ‘RAYN’. Is this telling us we are at the tomb of Thomas Rayner, the very marker tomb indeed located high up the steep Lindum Hill and surrounded by trees under where hides an undiscovered crypt associated with the secrets of the Magdalene? Although ShughboroughHall date their monument as having been built between 1748 and 1763 and the Rayner tomb dates only to 1820, the Collective Unconscious working through Flemish sculptor Peter Scheemakers has still enabled us, whatever his own intentions or instructions may have been, to be led back to the unseen space it occupies, the crypt below of the demolished St Margaret’s church which dates back to the 11thC. Interesting that Scheemakers has the initials ‘P.S’, as in the Priory of Sion. Another vital clue to the solution stands alongside the pregnant ‘Mary’ statue that looks over at the Rayner marker, the equal spacing of the 681 of the East Dial of the Cathedral (681 being part of the coded Rennes Parchments) 30’ up the buttress of the SE corner of the Transept. The Dial is an important part of the enigma as the original name of the Tour Magdala, the Tower dedicated to Maryin Rennes-le-Chateau, was ‘Tour de l’Horlogium’ -‘The Tower of the Clock’. Back at Shughborough near the Shepherds Monument we will also see a so-called horlogium, water clock and wind tower. In May 2009 staff at Shughborough Hall announced that they had found an ancient paper cross in their roof space believed to have remained hidden there since being torn from a 1794 newspaper. The cross is, more specifically, in the shape of the Cross of Lorraine, the Templars emblem which is also the shape of Lincoln Cathedral when viewed from the air. Is this yet another secret kept for over two hundred years, that Shughborough and its monument links with Lincoln Cathedral? A charge brought against the Knights Templar at the time was that they worshipped a mysterious cat or head. Could this cat or head have been concealed within the word ‘CAT –HED-RAL’, Lincoln Cathedral?
'On March 19th 2009, BBC Television's popular Sunday evening show. 'Antiques Roadshow' filmed the first venue of its 32nd series, at Lincoln Cathedral. The nature of the show is to discover and unearth valuable historical antiques and 'treasure' brought in by members of the public. And so, where did presenter Fiona Bruce find herself positioned at the very start of the show? At the West Front entrance where one would expect? Inside the Cathedral? Neither - it was the unconscious idea of the producer to have her stationed in front of the Rayner marker tomb - site of the most sought after and valuable historical treasure of all...'[!gad]In 2005 local newspaper The Lincolnshire Echo ran the story ‘The Riddle of Jesus, the Last Supper and Lincoln’s own Da Vinci Code’ referring to the discovery of a dog on the platter at the scene of the Last Supper upon the Great East Window within Lincoln Cathedral. The notion of Lincoln Cathedral having its own Da Vinci Code appealed to me within an instant, I set about investigating it and the rest is now modern history. From the very onset, synchronicity played its part – the fellow who discovered the dog on the plate during repairs to the window had the word ‘cup’ in his surname, the Grail once held to be a golden cup or chalice, Tom Kupper, being leader of the cathedral glazing department. As I was making exciting progress in pursuing this chance find of a factual ‘Cathedral Code’, the most unbelievable announcement was made – in July 2006 Hollywood was going to come to film scenes for Dan Brown’s fictional ‘The Da Vinci code’, within the cathedral!
Here was I seeking to authenticate a factual code in there when the film version of the best ever selling work of fiction was about to tread on my toes and share the same stone floor. I thought this visiting significant synchronicity would never be repeated, but during March 2010 lightning struck again.
On March 12th, the 36.5 centimetre tall, 5kg solid gold soccer World cup, the most iconic sports trophy of all time, was going to pay a solitary visit in the UK during its global tour ahead of this years summer tournament in South Africa. Where to? The soccer giants of Manchester United, the world’s second richest club? London’s top two, Champions Chelsea or Arsenal? Previous European cup winners Liverpool, perhaps? No - against all conceivable odds and described in the Press as ‘truly fantastic’ and ‘totally unique’ it was brought to lowly second division football club Lincoln City of the fourth tier of the English football league system, at their Sincil Bank ground, lowered down by helicopter before the game with visiting Hereford United, as a token acknowledgement to the club’s 125th anniversary.
The news was a sensation and unlikely event to soccer fans in the city with waves of envy rippling through all other clubs and soccer followers in the country who would love a one-off chance to glance this cup of cups. If we remove the exoteric explanation for this still unlikely happening, we can take a look at the esoteric, for as many of us have learned or at least suspect, all is not exactly as it seems in this world, and deep multi-layered explanations abound for many far subtler reasons. With synchronicity now being a way of life for me, I immediately recognized the mechanism of the Collective Unconscious at work again and for a second time responsible for drawing a specific arrival to Lincoln. The symbology of the ‘blade and the chalice’ is a confirmatory requirement of the Grail seekers search even Dan Brown mentioning it in his ‘The Da Vinci Code’. And here it was, finally announcing itself in the very city where I had already placed evidence of the final resting place of the Magdalene. The helicopter (blade) bringing the world cup trophy (a golden chalice) – the blade and the chalice.
The original octagonal world cup with the title of ‘Victory’ and retired in 1974, was made of gold-plated sterling silver and lapis lazuli, depicting the female figure of the Greek goddess Nike, its replacement now depicts a male and female holding up the earth. After its incredible arrival in Lincoln, the trophy co- incidentally travelled to Paris where Dan Brown placed the Magdalene under the inverted pyramid at the Louvre. To explain the consequent synchronicities of this trophy arriving at Sincil Bank, we must take a look at the visiting team, Hereford United. Hereford Cathedral is the home of the 158cm x 133cm golden 13thC Mappa Mundi or ‘Map of the world’. It is attributed to Richard de Bello, Prebend of Lafford in Lincoln Cathedral but what also connects Lincoln Cathedral with Hereford is a medieval writer with an appropriate surname, Walter Map (1140-1210), chancellor of the diocese of Lincoln, later becoming Precentor and then later canon of Hereford. Map was long considered to be author of a lost prose version of the Lancelot story entitled ‘Quest of the Holy Grail’ on which later accounts of the Arthurian legacy were based. In the centre of the Mappa Mundi is placed Jerusalem. Three miles to the west of Lincoln Cathedral we have the uniquely named small village of Jerusalem. Curiously, the labels for Africa, host to this year’s World Cup, and Europe are in reverse. The connections deepen when we learn that the favoured nickname of Hereford United is ‘The Lilywhites’, the white lily being the emblem of Mary Magdalene. Lincoln City’s football ground, Sincil Bank, was built in 1895 the very year that Berenger Sauniere began his construction of the Villa Bethany.
The origin of the name ‘Sincil’ is a puzzle and is rather untraceable as British, but if we resort to the matrix of the Mother Tongue, the expression of the language of Collective Unconscious, it reveals the phonetic ‘Sign Seal’, and so now we have a synchronized collection of the blade and chalice of the Grail, a sign, and the seal, a means of authentication or attestation. The arrival of the world cup trophy, the blade and the chalice, brought about by human agency is the unconscious sign strengthening the belief that the Grail is in Lincoln.
My own investigations aided and abetted by arrangements from this Collective Unconscious and its tool of synchronicity, have placed a Templar treasure concerning the secret of a pregnant Magdalene opposite the East corner of the Cathedral, at the burial grounds of St Margaret. At this angle of the Gothic structure are two prominent carved figures presumed to be of King Edward I and Queen Eleanor, heavily restored in the 19thC and thought not intended to have originally depicted the couple. After her death and embalming - which involved evisceration – her viscera only was buried in her tomb in Lincoln, the rest of her remains at Westminster Abbey. Interesting synchronicities here are that the statue on the outside clearly shows a pregnant female. My own research has brought me to the conclusion a pregnant Magdalene was demised by a dagger assault and that enduring stories that she sired a bloodline by the birth of a daughter called Sarah is but myth, the name ‘Sarah’ evolving from remembrance of the fatal dagger wound to her viscera. (Vis-cera/Vis-Sarah) The statue of the gravid Eleanor looks directly over at the location of the marker tomb where my final location resides, and behind her, inside the cathedral, is her own viscera in a tomb placed under the Great East Window, the 1891 structure an exact copy of the original that was defaced and smashed by Cromwell’s men at the time of the Civil War. I suspect also that this is the tomb brought to the attention of Berenger Sauniere who mentioned in his casual diary entry for September 21st 1891 – ‘Letter from Granes, Discovery of a tomb. Rain in the evening.’ His Masonic punning on the word ‘rain’ has nothing to do with a commentary on weather conditions. It is more a reference to the figure whose tomb it is; in this instance that of Eleanor who had a ‘reign’ or time of reigning. ‘Evening’ has the meaning of ‘the decline or end of life’, and it is her tomb that is clearly a declaration of that finality. It may even be a reference to the Thomas Rayner, marker tomb. Eleanor, incidentally, is reputed to have saved the life of Edward when he was stabbed by a poisoned dagger from a Moors assassin – again the appearance of a dagger in our storyline. As there is no dispute that the original carvings had uncertain identities, is it possible that these statues were once showing the king of Heaven, Jesus, and his pregnant wife Mary Magdalene?
The Collective Unconscious, a tool that has aided and abetted me throughout my investigations, has no human limitation like the concepts of time and space; this is how it may offer omens in the timeless realm of dreamland. Here is one such example as brought to my attention by a regular correspondent who has learned the ways of attunement to this mechanism. To study the pregnant shepherdess figure in Poussin’s ‘Shepherds of Arcadia’ – who translates as our Queen Eleanor at Lincoln Cathedral - one could be forgiven for thinking that the female is a ghostly figure as the gathering shepherds show no indication of being aware of her presence, more like she is invisibly trying to comfort them at her graveside. The kneeling shepherd is painted to look very like the figure of Thomas, who has his finger pointing upwards, as seen in Da Vinci’s ‘Last Supper’. Note that the garb worn by the ghostly shepherdess is the same colour as the Mary Magdalene figure in Da Vinci’s canvass.
Next, we visit the enigmatic ‘Shepherd’s Monument, a 20’ high marble tablet mirror image relief copy of Poussin’s original, found at Shughborough Hall, ancestral home of the Earls of Lichfield in Staffordshire, England, and shown in a contrasting portrait format rather than Poussin’s landscape which some argue highlights the mountainous region of Rennes-le-Chateau in the background. There is an inscription at the foot of the monument which has never been conclusively decoded despite a number of claims and with speculative examples. Leaving some of these possible solutions alone, our need is to concentrate on the tombstone in the portrait as it is now higher raised from the ground than the Poussin scene, with an additional part typical of a popular Victorian embellishment. Surrounded by trees and what appear to be clouds,tablet is, of course, here in England, and so too may be what it is attempting to indicate, a tomb high up somewhere. Now we flip a photo of the monument so that it is no longer a mirror image of the painting but a mirror image of itself. The kneeling ‘Thomas’ shepherd stands out from the sculpture further than the other two and is directly pointed at by his adjacent shepherd. Thomas points to the famous, now reversed, ET IN ARCADIA EGO inscription, his thumb pointing to the letter ‘R’ and his finger which is now ‘missing’ would have pointed to the letter ‘N’. Between the two is a letter ‘A’ and a space – missing letter. In our reversal, this ‘Thomas’ figure is pointing to ‘RA_N’...could the missing letter have been a ‘Y’? Either way, ‘R AN’ with phonetic emphasis on the ‘A’ produces a sounding ‘RAYN’. Is this telling us we are at the tomb of Thomas Rayner, the very marker tomb indeed located high up the steep Lindum Hill and surrounded by trees under where hides an undiscovered crypt associated with the secrets of the Magdalene? Although ShughboroughHall date their monument as having been built between 1748 and 1763 and the Rayner tomb dates only to 1820, the Collective Unconscious working through Flemish sculptor Peter Scheemakers has still enabled us, whatever his own intentions or instructions may have been, to be led back to the unseen space it occupies, the crypt below of the demolished St Margaret’s church which dates back to the 11thC. Interesting that Scheemakers has the initials ‘P.S’, as in the Priory of Sion. Another vital clue to the solution stands alongside the pregnant ‘Mary’ statue that looks over at the Rayner marker, the equal spacing of the 681 of the East Dial of the Cathedral (681 being part of the coded Rennes Parchments) 30’ up the buttress of the SE corner of the Transept. The Dial is an important part of the enigma as the original name of the Tour Magdala, the Tower dedicated to Maryin Rennes-le-Chateau, was ‘Tour de l’Horlogium’ -‘The Tower of the Clock’. Back at Shughborough near the Shepherds Monument we will also see a so-called horlogium, water clock and wind tower. In May 2009 staff at Shughborough Hall announced that they had found an ancient paper cross in their roof space believed to have remained hidden there since being torn from a 1794 newspaper. The cross is, more specifically, in the shape of the Cross of Lorraine, the Templars emblem which is also the shape of Lincoln Cathedral when viewed from the air. Is this yet another secret kept for over two hundred years, that Shughborough and its monument links with Lincoln Cathedral? A charge brought against the Knights Templar at the time was that they worshipped a mysterious cat or head. Could this cat or head have been concealed within the word ‘CAT –HED-RAL’, Lincoln Cathedral?
'On March 19th 2009, BBC Television's popular Sunday evening show. 'Antiques Roadshow' filmed the first venue of its 32nd series, at Lincoln Cathedral. The nature of the show is to discover and unearth valuable historical antiques and 'treasure' brought in by members of the public. And so, where did presenter Fiona Bruce find herself positioned at the very start of the show? At the West Front entrance where one would expect? Inside the Cathedral? Neither - it was the unconscious idea of the producer to have her stationed in front of the Rayner marker tomb - site of the most sought after and valuable historical treasure of all...'
Dan's book, "The Murder of Mary Magdalene -Synchronicity and the Scarlet Saint" is available now at Amazon:
http://www.amazon.co.uk/The-Murder-Mary-Magdalene-Synchronicity/dp/1907126147/
His new book, "Activation Code Earth", is available to download as a free ebook from http://www.dangreencodex.co.uk/ Comments (0)
Mind, motion, and the Magdalene
April 13, 2010 | 0 comments
Image Credit: Leonardo Da Vinci In 2005 local newspaper The Lincolnshire Echo ran the story ‘The Riddle of Jesus, the Last Supper and Lincoln’s own Da Vinci Code’ referring to the discovery of a dog on the platter at the scene of the Last Supper upon the Great East Window within Lincoln Cathedral. The notion of Lincoln Cathedral having its own Da Vinci Code appealed to me within an instant, I set about investigating it and the rest is now modern history. From the very onset, synchronicity played its part – the fellow who discovered the dog on the plate during repairs to the window had the word ‘cup’ in his surname, the Grail once held to be a golden cup or chalice, Tom Kupper, being leader of the cathedral glazing department. As I was making exciting progress in pursuing this chance find of a factual ‘Cathedral Code’, the most unbelievable announcement was made – in July 2006 Hollywood was going to come to film scenes for Dan Brown’s fictional ‘The Da Vinci code’, within the cathedral!
Here was I seeking to authenticate a factual code in there when the film version of the best ever selling work of fiction was about to tread on my toes and share the same stone floor. I thought this visiting significant synchronicity would never be repeated, but during March 2010 lightning struck again.
On March 12th, the 36.5 centimetre tall, 5kg solid gold soccer World cup, the most iconic sports trophy of all time, was going to pay a solitary visit in the UK during its global tour ahead of this years summer tournament in South Africa. Where to? The soccer giants of Manchester United, the world’s second richest club? London’s top two, Champions Chelsea or Arsenal? Previous European cup winners Liverpool, perhaps? No - against all conceivable odds and described in the Press as ‘truly fantastic’ and ‘totally unique’ it was brought to lowly second division football club Lincoln City of the fourth tier of the English football league system, at their Sincil Bank ground, lowered down by helicopter before the game with visiting Hereford United, as a token acknowledgement to the club’s 125th anniversary.
The news was a sensation and unlikely event to soccer fans in the city with waves of envy rippling through all other clubs and soccer followers in the country who would love a one-off chance to glance this cup of cups. If we remove the exoteric explanation for this still unlikely happening, we can take a look at the esoteric, for as many of us have learned or at least suspect, all is not exactly as it seems in this world, and deep multi-layered explanations abound for many far subtler reasons. With synchronicity now being a way of life for me, I immediately recognized the mechanism of the Collective Unconscious at work again and for a second time responsible for drawing a specific arrival to Lincoln. The symbology of the ‘blade and the chalice’ is a confirmatory requirement of the Grail seekers search even Dan Brown mentioning it in his ‘The Da Vinci Code’. And here it was, finally announcing itself in the very city where I had already placed evidence of the final resting place of the Magdalene. The helicopter (blade) bringing the world cup trophy (a golden chalice) – the blade and the chalice.
The original octagonal world cup with the title of ‘Victory’ and retired in 1974, was made of gold-plated sterling silver and lapis lazuli, depicting the female figure of the Greek goddess Nike, its replacement now depicts a male and female holding up the earth. After its incredible arrival in Lincoln, the trophy co- incidentally travelled to Paris where Dan Brown placed the Magdalene under the inverted pyramid at the Louvre. To explain the consequent synchronicities of this trophy arriving at Sincil Bank, we must take a look at the visiting team, Hereford United. Hereford Cathedral is the home of the 158cm x 133cm golden 13thC Mappa Mundi or ‘Map of the world’. It is attributed to Richard de Bello, Prebend of Lafford in Lincoln Cathedral but what also connects Lincoln Cathedral with Hereford is a medieval writer with an appropriate surname, Walter Map (1140-1210), chancellor of the diocese of Lincoln, later becoming Precentor and then later canon of Hereford. Map was long considered to be author of a lost prose version of the Lancelot story entitled ‘Quest of the Holy Grail’ on which later accounts of the Arthurian legacy were based. In the centre of the Mappa Mundi is placed Jerusalem. Three miles to the west of Lincoln Cathedral we have the uniquely named small village of Jerusalem. Curiously, the labels for Africa, host to this year’s World Cup, and Europe are in reverse. The connections deepen when we learn that the favoured nickname of Hereford United is ‘The Lilywhites’, the white lily being the emblem of Mary Magdalene. Lincoln City’s football ground, Sincil Bank, was built in 1895 the very year that Berenger Sauniere began his construction of the Villa Bethany.
The origin of the name ‘Sincil’ is a puzzle and is rather untraceable as British, but if we resort to the matrix of the Mother Tongue, the expression of the language of Collective Unconscious, it reveals the phonetic ‘Sign Seal’, and so now we have a synchronized collection of the blade and chalice of the Grail, a sign, and the seal, a means of authentication or attestation. The arrival of the world cup trophy, the blade and the chalice, brought about by human agency is the unconscious sign strengthening the belief that the Grail is in Lincoln.
My own investigations aided and abetted by arrangements from this Collective Unconscious and its tool of synchronicity, have placed a Templar treasure concerning the secret of a pregnant Magdalene opposite the East corner of the Cathedral, at the burial grounds of St Margaret. At this angle of the Gothic structure are two prominent carved figures presumed to be of King Edward I and Queen Eleanor, heavily restored in the 19thC and thought not intended to have originally depicted the couple. After her death and embalming - which involved evisceration – her viscera only was buried in her tomb in Lincoln, the rest of her remains at Westminster Abbey. Interesting synchronicities here are that the statue on the outside clearly shows a pregnant female. My own research has brought me to the conclusion a pregnant Magdalene was demised by a dagger assault and that enduring stories that she sired a bloodline by the birth of a daughter called Sarah is but myth, the name ‘Sarah’ evolving from remembrance of the fatal dagger wound to her viscera. (Vis-cera/Vis-Sarah) The statue of the gravid Eleanor looks directly over at the location of the marker tomb where my final location resides, and behind her, inside the cathedral, is her own viscera in a tomb placed under the Great East Window, the 1891 structure an exact copy of the original that was defaced and smashed by Cromwell’s men at the time of the Civil War. I suspect also that this is the tomb brought to the attention of Berenger Sauniere who mentioned in his casual diary entry for September 21st 1891 – ‘Letter from Granes, Discovery of a tomb. Rain in the evening.’ His Masonic punning on the word ‘rain’ has nothing to do with a commentary on weather conditions. It is more a reference to the figure whose tomb it is; in this instance that of Eleanor who had a ‘reign’ or time of reigning. ‘Evening’ has the meaning of ‘the decline or end of life’, and it is her tomb that is clearly a declaration of that finality. It may even be a reference to the Thomas Rayner, marker tomb. Eleanor, incidentally, is reputed to have saved the life of Edward when he was stabbed by a poisoned dagger from a Moors assassin – again the appearance of a dagger in our storyline. As there is no dispute that the original carvings had uncertain identities, is it possible that these statues were once showing the king of Heaven, Jesus, and his pregnant wife Mary Magdalene?
The Collective Unconscious, a tool that has aided and abetted me throughout my investigations, has no human limitation like the concepts of time and space; this is how it may offer omens in the timeless realm of dreamland. Here is one such example as brought to my attention by a regular correspondent who has learned the ways of attunement to this mechanism. To study the pregnant shepherdess figure in Poussin’s ‘Shepherds of Arcadia’ – who translates as our Queen Eleanor at Lincoln Cathedral - one could be forgiven for thinking that the female is a ghostly figure as the gathering shepherds show no indication of being aware of her presence, more like she is invisibly trying to comfort them at her graveside. The kneeling shepherd is painted to look very like the figure of Thomas, who has his finger pointing upwards, as seen in Da Vinci’s ‘Last Supper’. Note that the garb worn by the ghostly shepherdess is the same colour as the Mary Magdalene figure in Da Vinci’s canvass.
Next, we visit the enigmatic ‘Shepherd’s Monument, a 20’ high marble tablet mirror image relief copy of Poussin’s original, found at Shughborough Hall, ancestral home of the Earls of Lichfield in Staffordshire, England, and shown in a contrasting portrait format rather than Poussin’s landscape which some argue highlights the mountainous region of Rennes-le-Chateau in the background. There is an inscription at the foot of the monument which has never been conclusively decoded despite a number of claims and with speculative examples. Leaving some of these possible solutions alone, our need is to concentrate on the tombstone in the portrait as it is now higher raised from the ground than the Poussin scene, with an additional part typical of a popular Victorian embellishment. Surrounded by trees and what appear to be clouds,tablet is, of course, here in England, and so too may be what it is attempting to indicate, a tomb high up somewhere. Now we flip a photo of the monument so that it is no longer a mirror image of the painting but a mirror image of itself. The kneeling ‘Thomas’ shepherd stands out from the sculpture further than the other two and is directly pointed at by his adjacent shepherd. Thomas points to the famous, now reversed, ET IN ARCADIA EGO inscription, his thumb pointing to the letter ‘R’ and his finger which is now ‘missing’ would have pointed to the letter ‘N’. Between the two is a letter ‘A’ and a space – missing letter. In our reversal, this ‘Thomas’ figure is pointing to ‘RA_N’...could the missing letter have been a ‘Y’? Either way, ‘R AN’ with phonetic emphasis on the ‘A’ produces a sounding ‘RAYN’. Is this telling us we are at the tomb of Thomas Rayner, the very marker tomb indeed located high up the steep Lindum Hill and surrounded by trees under where hides an undiscovered crypt associated with the secrets of the Magdalene? Although ShughboroughHall date their monument as having been built between 1748 and 1763 and the Rayner tomb dates only to 1820, the Collective Unconscious working through Flemish sculptor Peter Scheemakers has still enabled us, whatever his own intentions or instructions may have been, to be led back to the unseen space it occupies, the crypt below of the demolished St Margaret’s church which dates back to the 11thC. Interesting that Scheemakers has the initials ‘P.S’, as in the Priory of Sion. Another vital clue to the solution stands alongside the pregnant ‘Mary’ statue that looks over at the Rayner marker, the equal spacing of the 681 of the East Dial of the Cathedral (681 being part of the coded Rennes Parchments) 30’ up the buttress of the SE corner of the Transept. The Dial is an important part of the enigma as the original name of the Tour Magdala, the Tower dedicated to Maryin Rennes-le-Chateau, was ‘Tour de l’Horlogium’ -‘The Tower of the Clock’. Back at Shughborough near the Shepherds Monument we will also see a so-called horlogium, water clock and wind tower. In May 2009 staff at Shughborough Hall announced that they had found an ancient paper cross in their roof space believed to have remained hidden there since being torn from a 1794 newspaper. The cross is, more specifically, in the shape of the Cross of Lorraine, the Templars emblem which is also the shape of Lincoln Cathedral when viewed from the air. Is this yet another secret kept for over two hundred years, that Shughborough and its monument links with Lincoln Cathedral? A charge brought against the Knights Templar at the time was that they worshipped a mysterious cat or head. Could this cat or head have been concealed within the word ‘CAT –HED-RAL’, Lincoln Cathedral?
'On March 19th 2009, BBC Television's popular Sunday evening show. 'Antiques Roadshow' filmed the first venue of its 32nd series, at Lincoln Cathedral. The nature of the show is to discover and unearth valuable historical antiques and 'treasure' brought in by members of the public. And so, where did presenter Fiona Bruce find herself positioned at the very start of the show? At the West Front entrance where one would expect? Inside the Cathedral? Neither - it was the unconscious idea of the producer to have her stationed in front of the Rayner marker tomb - site of the most sought after and valuable historical treasure of all...'[!gad]In 2005 local newspaper The Lincolnshire Echo ran the story ‘The Riddle of Jesus, the Last Supper and Lincoln’s own Da Vinci Code’ referring to the discovery of a dog on the platter at the scene of the Last Supper upon the Great East Window within Lincoln Cathedral. The notion of Lincoln Cathedral having its own Da Vinci Code appealed to me within an instant, I set about investigating it and the rest is now modern history. From the very onset, synchronicity played its part – the fellow who discovered the dog on the plate during repairs to the window had the word ‘cup’ in his surname, the Grail once held to be a golden cup or chalice, Tom Kupper, being leader of the cathedral glazing department. As I was making exciting progress in pursuing this chance find of a factual ‘Cathedral Code’, the most unbelievable announcement was made – in July 2006 Hollywood was going to come to film scenes for Dan Brown’s fictional ‘The Da Vinci code’, within the cathedral!
Here was I seeking to authenticate a factual code in there when the film version of the best ever selling work of fiction was about to tread on my toes and share the same stone floor. I thought this visiting significant synchronicity would never be repeated, but during March 2010 lightning struck again.
On March 12th, the 36.5 centimetre tall, 5kg solid gold soccer World cup, the most iconic sports trophy of all time, was going to pay a solitary visit in the UK during its global tour ahead of this years summer tournament in South Africa. Where to? The soccer giants of Manchester United, the world’s second richest club? London’s top two, Champions Chelsea or Arsenal? Previous European cup winners Liverpool, perhaps? No - against all conceivable odds and described in the Press as ‘truly fantastic’ and ‘totally unique’ it was brought to lowly second division football club Lincoln City of the fourth tier of the English football league system, at their Sincil Bank ground, lowered down by helicopter before the game with visiting Hereford United, as a token acknowledgement to the club’s 125th anniversary.
The news was a sensation and unlikely event to soccer fans in the city with waves of envy rippling through all other clubs and soccer followers in the country who would love a one-off chance to glance this cup of cups. If we remove the exoteric explanation for this still unlikely happening, we can take a look at the esoteric, for as many of us have learned or at least suspect, all is not exactly as it seems in this world, and deep multi-layered explanations abound for many far subtler reasons. With synchronicity now being a way of life for me, I immediately recognized the mechanism of the Collective Unconscious at work again and for a second time responsible for drawing a specific arrival to Lincoln. The symbology of the ‘blade and the chalice’ is a confirmatory requirement of the Grail seekers search even Dan Brown mentioning it in his ‘The Da Vinci Code’. And here it was, finally announcing itself in the very city where I had already placed evidence of the final resting place of the Magdalene. The helicopter (blade) bringing the world cup trophy (a golden chalice) – the blade and the chalice.
The original octagonal world cup with the title of ‘Victory’ and retired in 1974, was made of gold-plated sterling silver and lapis lazuli, depicting the female figure of the Greek goddess Nike, its replacement now depicts a male and female holding up the earth. After its incredible arrival in Lincoln, the trophy co- incidentally travelled to Paris where Dan Brown placed the Magdalene under the inverted pyramid at the Louvre. To explain the consequent synchronicities of this trophy arriving at Sincil Bank, we must take a look at the visiting team, Hereford United. Hereford Cathedral is the home of the 158cm x 133cm golden 13thC Mappa Mundi or ‘Map of the world’. It is attributed to Richard de Bello, Prebend of Lafford in Lincoln Cathedral but what also connects Lincoln Cathedral with Hereford is a medieval writer with an appropriate surname, Walter Map (1140-1210), chancellor of the diocese of Lincoln, later becoming Precentor and then later canon of Hereford. Map was long considered to be author of a lost prose version of the Lancelot story entitled ‘Quest of the Holy Grail’ on which later accounts of the Arthurian legacy were based. In the centre of the Mappa Mundi is placed Jerusalem. Three miles to the west of Lincoln Cathedral we have the uniquely named small village of Jerusalem. Curiously, the labels for Africa, host to this year’s World Cup, and Europe are in reverse. The connections deepen when we learn that the favoured nickname of Hereford United is ‘The Lilywhites’, the white lily being the emblem of Mary Magdalene. Lincoln City’s football ground, Sincil Bank, was built in 1895 the very year that Berenger Sauniere began his construction of the Villa Bethany.
The origin of the name ‘Sincil’ is a puzzle and is rather untraceable as British, but if we resort to the matrix of the Mother Tongue, the expression of the language of Collective Unconscious, it reveals the phonetic ‘Sign Seal’, and so now we have a synchronized collection of the blade and chalice of the Grail, a sign, and the seal, a means of authentication or attestation. The arrival of the world cup trophy, the blade and the chalice, brought about by human agency is the unconscious sign strengthening the belief that the Grail is in Lincoln.
My own investigations aided and abetted by arrangements from this Collective Unconscious and its tool of synchronicity, have placed a Templar treasure concerning the secret of a pregnant Magdalene opposite the East corner of the Cathedral, at the burial grounds of St Margaret. At this angle of the Gothic structure are two prominent carved figures presumed to be of King Edward I and Queen Eleanor, heavily restored in the 19thC and thought not intended to have originally depicted the couple. After her death and embalming - which involved evisceration – her viscera only was buried in her tomb in Lincoln, the rest of her remains at Westminster Abbey. Interesting synchronicities here are that the statue on the outside clearly shows a pregnant female. My own research has brought me to the conclusion a pregnant Magdalene was demised by a dagger assault and that enduring stories that she sired a bloodline by the birth of a daughter called Sarah is but myth, the name ‘Sarah’ evolving from remembrance of the fatal dagger wound to her viscera. (Vis-cera/Vis-Sarah) The statue of the gravid Eleanor looks directly over at the location of the marker tomb where my final location resides, and behind her, inside the cathedral, is her own viscera in a tomb placed under the Great East Window, the 1891 structure an exact copy of the original that was defaced and smashed by Cromwell’s men at the time of the Civil War. I suspect also that this is the tomb brought to the attention of Berenger Sauniere who mentioned in his casual diary entry for September 21st 1891 – ‘Letter from Granes, Discovery of a tomb. Rain in the evening.’ His Masonic punning on the word ‘rain’ has nothing to do with a commentary on weather conditions. It is more a reference to the figure whose tomb it is; in this instance that of Eleanor who had a ‘reign’ or time of reigning. ‘Evening’ has the meaning of ‘the decline or end of life’, and it is her tomb that is clearly a declaration of that finality. It may even be a reference to the Thomas Rayner, marker tomb. Eleanor, incidentally, is reputed to have saved the life of Edward when he was stabbed by a poisoned dagger from a Moors assassin – again the appearance of a dagger in our storyline. As there is no dispute that the original carvings had uncertain identities, is it possible that these statues were once showing the king of Heaven, Jesus, and his pregnant wife Mary Magdalene?
The Collective Unconscious, a tool that has aided and abetted me throughout my investigations, has no human limitation like the concepts of time and space; this is how it may offer omens in the timeless realm of dreamland. Here is one such example as brought to my attention by a regular correspondent who has learned the ways of attunement to this mechanism. To study the pregnant shepherdess figure in Poussin’s ‘Shepherds of Arcadia’ – who translates as our Queen Eleanor at Lincoln Cathedral - one could be forgiven for thinking that the female is a ghostly figure as the gathering shepherds show no indication of being aware of her presence, more like she is invisibly trying to comfort them at her graveside. The kneeling shepherd is painted to look very like the figure of Thomas, who has his finger pointing upwards, as seen in Da Vinci’s ‘Last Supper’. Note that the garb worn by the ghostly shepherdess is the same colour as the Mary Magdalene figure in Da Vinci’s canvass.
Next, we visit the enigmatic ‘Shepherd’s Monument, a 20’ high marble tablet mirror image relief copy of Poussin’s original, found at Shughborough Hall, ancestral home of the Earls of Lichfield in Staffordshire, England, and shown in a contrasting portrait format rather than Poussin’s landscape which some argue highlights the mountainous region of Rennes-le-Chateau in the background. There is an inscription at the foot of the monument which has never been conclusively decoded despite a number of claims and with speculative examples. Leaving some of these possible solutions alone, our need is to concentrate on the tombstone in the portrait as it is now higher raised from the ground than the Poussin scene, with an additional part typical of a popular Victorian embellishment. Surrounded by trees and what appear to be clouds,tablet is, of course, here in England, and so too may be what it is attempting to indicate, a tomb high up somewhere. Now we flip a photo of the monument so that it is no longer a mirror image of the painting but a mirror image of itself. The kneeling ‘Thomas’ shepherd stands out from the sculpture further than the other two and is directly pointed at by his adjacent shepherd. Thomas points to the famous, now reversed, ET IN ARCADIA EGO inscription, his thumb pointing to the letter ‘R’ and his finger which is now ‘missing’ would have pointed to the letter ‘N’. Between the two is a letter ‘A’ and a space – missing letter. In our reversal, this ‘Thomas’ figure is pointing to ‘RA_N’...could the missing letter have been a ‘Y’? Either way, ‘R AN’ with phonetic emphasis on the ‘A’ produces a sounding ‘RAYN’. Is this telling us we are at the tomb of Thomas Rayner, the very marker tomb indeed located high up the steep Lindum Hill and surrounded by trees under where hides an undiscovered crypt associated with the secrets of the Magdalene? Although ShughboroughHall date their monument as having been built between 1748 and 1763 and the Rayner tomb dates only to 1820, the Collective Unconscious working through Flemish sculptor Peter Scheemakers has still enabled us, whatever his own intentions or instructions may have been, to be led back to the unseen space it occupies, the crypt below of the demolished St Margaret’s church which dates back to the 11thC. Interesting that Scheemakers has the initials ‘P.S’, as in the Priory of Sion. Another vital clue to the solution stands alongside the pregnant ‘Mary’ statue that looks over at the Rayner marker, the equal spacing of the 681 of the East Dial of the Cathedral (681 being part of the coded Rennes Parchments) 30’ up the buttress of the SE corner of the Transept. The Dial is an important part of the enigma as the original name of the Tour Magdala, the Tower dedicated to Maryin Rennes-le-Chateau, was ‘Tour de l’Horlogium’ -‘The Tower of the Clock’. Back at Shughborough near the Shepherds Monument we will also see a so-called horlogium, water clock and wind tower. In May 2009 staff at Shughborough Hall announced that they had found an ancient paper cross in their roof space believed to have remained hidden there since being torn from a 1794 newspaper. The cross is, more specifically, in the shape of the Cross of Lorraine, the Templars emblem which is also the shape of Lincoln Cathedral when viewed from the air. Is this yet another secret kept for over two hundred years, that Shughborough and its monument links with Lincoln Cathedral? A charge brought against the Knights Templar at the time was that they worshipped a mysterious cat or head. Could this cat or head have been concealed within the word ‘CAT –HED-RAL’, Lincoln Cathedral?
'On March 19th 2009, BBC Television's popular Sunday evening show. 'Antiques Roadshow' filmed the first venue of its 32nd series, at Lincoln Cathedral. The nature of the show is to discover and unearth valuable historical antiques and 'treasure' brought in by members of the public. And so, where did presenter Fiona Bruce find herself positioned at the very start of the show? At the West Front entrance where one would expect? Inside the Cathedral? Neither - it was the unconscious idea of the producer to have her stationed in front of the Rayner marker tomb - site of the most sought after and valuable historical treasure of all...'
Dan's book, "The Murder of Mary Magdalene -Synchronicity and the Scarlet Saint" is available now at Amazon:
http://www.amazon.co.uk/The-Murder-Mary-Magdalene-Synchronicity/dp/1907126147/
His new book, "Activation Code Earth", is available to download as a free ebook from http://www.dangreencodex.co.uk/ Comments (0)
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