Secrets Unveiled: Rosslyn Chapel, Holy Grail Location, Knights Templar

[Jim_Duyer]

“When I decided to write The Da Vinci Code, I knew that its finale would have to take place at the most mysterious and magical chapel on earth — Rosslyn.” Dan Brown

“Rosslyn Chapel was all one could imagine or hope for.” Tom Hanks

I was going to include this in a Book, or perhaps write a book about it, but I find that I have more stories to relate than time left on Earth, possibly, so I am going to share all of the secrets with you here and now. If you decide to use portions of it in another work, kindly credit Jim Duyer as the author, and mention http://paleoaliens.com, or else the ghosts of the Templar will pick you up for processing.

Let’s begin this report by speaking of Corn and Cactus. They both have a bearing on the story, as we shall soon see.

Corn or maize (zea mays) is a domesticated plant of the Americas. Along with many other indigenous plants like beans, squash, melons, tobacco, and roots such as Jerusalem artichoke, European colonists in America quickly adopted maize agriculture from Native Americans. Crops developed by Native Americans quickly spread to other parts of the world as well. This was after the time when Columbus was active.

Over a period of thousands of years, Native Americans purposefully transformed maize through special cultivation techniques. Maize was developed from a wild grass (Teosinte) originally growing in Central America (southern Mexico) 7,000 years ago. The ancestral kernels of Teosinte looked very different from today’s corn. These kernels were small and were not fused together like the kernels on the husked ear of early maize and modern corn.

As the life-ways of mobile hunting and gathering were often transformed into sedentary agricultural customs, very slowly the cultivation of maize, along with beans and squash, was introduced into the southwestern and southeastern parts of North America. The practice of maize agriculture did not reach southern New England until about a thousand years ago.

Where The Cacti Grows

The natural distribution of cactus species occurs exclusively in the New World with a single exception. This range includes North and South America, Central America, and the adjacent Islands such as the Caribbean and Galapagos islands. Rhipsalis baccifera, an epiphytic species is the sole exception that can be found in Madagascar, Tropical Africa, Seychelles, Mauritius, Reunion, and Sri Lanka as well as Tropical America.

But a few words need to be said about this African and Sri Lankan form. First, it looks like spaghetti hanging down out of a pot. Long stringy leaf forms that are absolutely nothing like
the catcus we know from North and South America. We would not even know about it except for the fact that the powers that be (represented by wakipedia) needed something to point to as an exception to the North American sole origin of cacti. But in small letters at the very bottom the continue with: One hypothesis is that it was introduced to the Old World by migratory birds, long enough ago for the Old World populations to be regarded as distinct subspecies. And I for one would love to see the bird that flew from South America to Africa. Truly I would. They also add this disclaimer: An alternative hypothesis holds that the species initially crossed the Atlantic Ocean on European ships trading between South America and Africa, after which birds may have spread it more widely. So here they admit that it was post-Columbus after all. Which we had already suspected by examining their bird theory.

So we don’t get Cactus unless we are in Tex-Mex territory, right? Wrong. The cactus habitat range within the Americas includes some species of cacti that are found at latitudes that many find surprising. To the North, cacti are found across southern Canada from Ontario in the East to British Columbia in the West. In the drier, milder western range, cacti can be found further north than in the east. Only a half-dozen or so hardy species are able to survive this climate and those that do are low-growing, fairly inconspicuous plants. To the extreme Southern tip of South America, one also finds the low-growing Maiheniopsis darwinii, Maihuenia patagonica, and Pterocactus australis. They don’t grow as well in the northern parts of North America, but they do resemble what we think of when we draw an image of cactus.

If you search Google images you will find the Opuntia varity of cactus growing on granite outcroppings in Minnesota, and the Cereus variety among grass and shrubs in Brazil.

What does this mention of corn and cactus have to do with the Rosslyn Chapel of Scotland? Plenty. Symbols of nature are depicted all over the Chapel. The south aisle, in particular, has many lively carvings of native and exotic flowers and plants including aloe vera, ferns, curly kale and oak leaves. And this not only suggests that members of the Knights Templar were in North America, but prior to Columbus, and thus they knew the route well, and may have traveled it accompanied by the Holy Grail that was in their keeping.

The ceiling is divided into five compartments, each with a different motif: daisies, lilies, roses, simple flowers and stars. These different flowers show the Chapel’s theme of nature on a grand scale but they also carry other layers of meaning as lilies and roses are associated with the Virgin Mary, the fern signifies sincerity and the oak reflects honor.

Along the arch above one of the windows in the south aisle is a beautiful carving of what appears to be maize or Indian corn. Its presence raises many questions: not only is it an exotic plant but it originates from North America, a country traditionally thought to have been discovered by Columbus in 1492, almost 50 years after Rosslyn Chapel was built.

Legend tells that Sir Henry St Clair, grandfather of the Chapel’s founder, may have travelled there long before Columbus – could these carvings of Indian corn be proof that Scottish knights reached North America first? And do those stylized, possibly spiky three-leaved things look like an aloe, or, as the Rosslyn Chapel brochure would have it, a cactus?

There is, of course, a simple explanation: Henry I Sinclair, Earl of Orkney and grandfather of the Rosslyn Chapel’s founder, William Sinclair, sailed to North America in around 1398, brought back samples (or at least depictions) of maize and aloe (or cacti), which the Chapel masons incorporated into these carvings, all subsequent history of the incident being scrupulously hidden from history’s view.

The Da Vinci Code makes much of Rosslyn Chapel and its Masonic and Templar associations, and many others have agreed that the depictions of New World plants in a building built before Columbus sailed are puzzling. As a disclaimer, I should mention that the BBC pours cold water on the idea, as do the paid skeptics and shells that we have working for the government nowadays.

What is the mystery of the Holy Grail after all? Is it the chalice that Jesus used on the night of the last supper, or does it represent a descendant of Jesus and Mary themselves – a Holy bloodline?

If you ever have questions about the hidden side of Christianity, you can do no worse than to look to the works of William Blake. In his art, his writings, and his extensive prose and poetry, many of the most secret facts about the days of Eden are explained. I’ll cover those in another report since they are fascinating but lengthy. But let’s examine just one of his works:

Jerusalem [“And did those feet in ancient time”]
By William Blake

And did those feet in ancient time
Walk upon Englands mountains green:
And was the holy Lamb of God,
On Englands pleasant pastures seen!

And did the Countenance Divine,
Shine forth upon our clouded hills?
And was Jerusalem builded here,
Among these dark Satanic Mills?

Bring me my Bow of burning gold:
Bring me my arrows of desire:
Bring me my Spear: O clouds unfold!
Bring me my Chariot of fire!

I will not cease from Mental Fight,
Nor shall my sword sleep in my hand:
Till we have built Jerusalem,
In Englands green & pleasant Land.

The poem was supposedly inspired by the apocryphal story that a young Jesus, accompanied by Joseph of Arimathea, a tin merchant, travelled to what is now England and visited Glastonbury during his unknown years. Most scholars reject the historical authenticity of this story out of hand, which is only to be expected of those types, but we might notice that they furnish no evidence that contradicts the possibility. And certain reports in Rome itself seem to indicate that a group of former Apostles did visit Europe in that time period.

And so from an entry into England, we next find that the Holy Grail finds refuge in this Chapel in Scotland, whose builders and owners are associated with the Knights Templars, said to be the guardians of the Holy Grail.

I won’t start at the beginnings, in the Temple of Solomon in Jerusalem, nor will I continue to the end, in the bayous of Louisiana among the Acadians. I haven’t the time, and frankly I have not found the evidence that should exist there. But what I can, and will do in this report, is what none have been able to previously – I can show you where it went when it left the Chapel, and this in turn points to a very strong possibility that the Holy Grail did indeed head for Canada, and prior to the voyage of Christopher.

Let’s get started on the revelations (my small r use is not indicative of importance) that are extant in the Chapel area, for those who have eyes that see and ears that hear. Allow me to pause for one short moment here. I do have an ego problem. I am working on it. Sometimes, as in this report, I employ grand, theatrical gestures, but they are actually my form of humor. I don’t believe that I have any abilities that others do not – I simply do not trust that what appears to be normal, is after all, normal. And so I examine everything and allow my fully functional crap-detector to point the way towards what I believe to be the truth. So if I come across as boasting or even worse, please grant me some allowance for that idiocy. Thank you.

First let’s examine the clues left for those that have ears that hear, and then we will get to the eyes that see.

Among Rosslyn’s many intricate carvings are a sequence of 213 cubes or “boxes” protruding from pillars and arches with a selection of patterns on them. It is unknown if these patterns have any particular meaning attached to them. Many people have attempted to find information coded into them, but no interpretation has yet proven conclusive. Unfortunately, many of these ‘boxes’ are not original, having been replaced in the 19th century after erosion damage.

Edinburgh composer Stuart Mitchell thinks he has cracked one part of the enigma of Rosslyn. He believes that the ornate ceiling of carved arches, featuring 213 decorated cubes holds a code for medieval music. 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 Rosslyn Motet. They hope that the music, when played on medieval instruments in situ, will resonate throughout the chapel unlocking a secret in the stone. 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 patterns. 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. Mr. Mitchell believes that 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. 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 secret. [Mitchell, Thomas (2006). Rosslyn Chapel: The Music of the Cubes. Diversions Books.]

When I read about this fascinating discovery, I decided to see if there might be any hidden messages inside the Chapel connected to this musical theory – something that could both confirm and expand upon the Mitchell findings. And I believe that I have found that confirmation, by examining the coded messages from inside the Chapel itself.

I saw a few things while looking at some images of the Chapel and the surrounding grounds. Out of place things that did not match the cultural timeline of these supposedly Church of England group who built this.

In the architrave joining the pillar there is an inscription, “Forte est vinum fortior est rex fortiores sunt mulieres super omnia vincit veritas” – which has been translated by others into English as: “Wine is strong, a king is stronger, women are stronger still, but truth conquers all” (from the Old Testament Book of 1 Esdras, chapters 3 & 4).

The BOOK OF 1 ESDRAS is about Zerubbabel, who is Very Important in Freemasonry.
Although he is not mentioned in Craft Freemasonry, Zerubbabel is considered to be of great importance to a number of Masonic bodies. Within Holy Royal Arch freemasonry and Scottish Rite Freemasonry he is considered to be a ruling principal. [Mackey, Albert G. M.D.: Encyclopedia of Freemasonry and its Kindred Sciences, page 1040. McClure Publishing Co., 1917.]

What is Royal Arch Masonry? Put simply, it is a continuation of Craft Freemasonry. Its members, called Companions, meet in a Chapter under a Grand Chapter. Chapters are ruled over by three Principals, who rule conjointly, and the Grand Chapter is ruled over by three Grand Principals, with a Pro First Grand Principal when the First Grand Principal is a Royal Prince, as at present.

This book is not extant among the Hebrew Scriptures, but rather in the Septuagint, or Greek assembled version of the Old Testament. To me this is what I call “an announcer”. There’s always some form of clue that announces itself, by it being out of place, and calls for our attention. We are almost being told to seek the truth, but in a Book that is not part of the Hebrew Bible. That’s the announcer, or one of them.

The King James Version tells us:
1 Esdras Chapter 3: verses:
10 wine is strong
11 the king is stronger
12 women are strongest but above all truth beareth away the victory

So far so good.

Now let’s examine the context, which is always of importance. From the Brenton translation of the Greek Septuagint (LXX) in the KJV English version of 1 Esdras 3, we learn that these suggestions of strength arise from three young men who were attempting to please the king Darius, by offering their wisdom.

What I would like you to notice from the above, is that, stronger than the forces of wine, stronger than the King that rules, are women. But that the very ultimate in strength is shown by, above all, “truth that beareth away the victory.” Not just truth, but the type of truth that makes one victorious. One truth that rules the day, and perhaps for a long time.

Can we not see in those verses a mention of a strong woman, perhaps someone with the strength of a Mary, disciple of Christ, who bore the truth, (or perhaps bore the true lineage of Christ), and that same truth will ultimately lead to victory?

Whether this refers to the Chalice that was used in the Last Supper or to a living descendant of Christ, we can surely surmise that either would represent a historically unique event. Because as we can see, it is truth and not gold or treasure that will bring the victory.

Why that verse? Why did they choose to carve that particular message into the Chapel walls? I decided that I needed to find those answers. I wrote a trivial computer program to find out if there is a hidden meaning inside of that Latin phrase, since I discovered years ago that John Dee, the original 007 spy of England, used a Cryptographic system based on letter frequencies when he communicated with Mercator in Holland.

Yes, the map maker was also a spy in league with the English against the Catholic Church of their day. Which also answered the question that scholars have been asking – why did he use so many “v” alphabetical characters in place of the standard “u” when he wrote the comments on his maps? One of the problems that we have today with most of our scientific “discoveries” is that multi-disciplines are not called upon, and so archaeologists, who have little or no knowledge of Cryptography, would not recognize a hidden passage if it bit them.

As a former Cryptographer, I recognized the scheme of using a previously selected text whose frequency of individual letters, when place from top to bottom in order of occurrence, provides a hidden message.

If we take those words from the Chapel, in Latin, without spacing, we have the following group of letters: “Forteestvinumfortiorestrexfortioressuntmulieressuperomniavincitveritas”, and when we examine these for the frequency in which the letters appear in the text itself we obtain the following words, also in Latin :

Letter : Number of times that it appears in the sentence
r: 9
e: 9
t: 8
i: 8
reti = the dative singular of “rete”, meaning: net, snare, (figuratively) a trap

s: 7
o: 6
n: 4
u: 4
m: 3
sonum =accusative singular of “sonus”, defined as: a sound, noise; pitch; speech, (figuratively) a tone, character, style

When John Dee sent his secret communications to Mercator, and vice-versa, I noticed that they often used the Latin “v” as the letter “u”, which early Latin authors did as well, and the English were famous during the early middle ages for writing their “s” to resemble an “f”. And so I find it very likely that the “vfa” was actually intended to be “usa”. (And no, not USA, wrong timeline.)
v: 3
f: 3
a: 2
usa = nominative feminine singular of usus in Latin, and usus has been defined
as: use, employment, exercise, advantage, experience, discipline, skill,
as well as habit, usage, custom.

For our next word we have the two Latin characters of:

c: 1
p: 1 cp or cappa = “cloak” To cloak in secrets, or in this case the Chapel itself.

The English word Chapel is ultimately derived from the Late Latin word cappa, meaning “cloak.”
Using the Cryptographic system of John Dee, we discover that vowels, if previously used, were allowed to be “borrowed” for further use, and thus the “cp” here could very easily indicate
perhaps an abbreviation for this word “cappa”.

But wait a moment – how did we get from a cloak or garment to a building? The answer to this question has to do with a shrine created to hold the sacred cloak of St. Martin of Tours. In Medieval Latin, this shrine was called “cappella” (from a diminutive of cappa meaning “short cloak or cape”) in reference to the relic it contained. Later, the meaning of “cappella” broadened to include any building that housed a sacred relic, and eventually to a place of worship. Old French picked up the term as “chapele,” which in turn passed into English as “chapel” in the 13th century.

And the final two characters are:

l: 1
x: 1
Our final word is “lux”, (genitive lucis); defined as: light of the stars, moonlight, life, glory, enlightenment, splendor, eyesight or the eyes, luminary and light of the sun or daylight.

We have a few optional meanings, all of which are very interesting. I would suggest one of the following, placed here in their order of most likely (in my opinion) down to least likely:

To snare or trap the tone, use the Chapel in the moonlight.
To capture the sound, use the Chapel for enlightenment.
To snare the tone, employ the luminary eyes of the Chapel.

Whichever of these suggestions that we adopt, they all seem to point to the same musical association connected with the boxes and markings of the Chapel that the Mitchell’s discovered. But they also amplify that information by suggesting that it is by moonlight, or under the eyes of enlightenment that the tones will actually be snared or trapped for further use. I believe that they are suggesting that we look into the esoteric texts for some type of template or indications of how to properly arrange the boxes so as to obtain the proper tones. By repeating the tone frequencies in the music during a period of moonlight, will they resonate within the building and unlock additional medieval secrets after all? It should certainly be looked at more closely.

Well, that’s one hidden secret solved, and it certainly should help to uncover even further buried knowledge when it is applied properly, but how about another one? How about one for those who have eyes that see? I’m glad you asked.

When the Knights Templar fled Europe to escape persecution by the French King, who did not wish to repay his loans to them, they went to Scotland. It was a safe place to hide since they weren’t outlawed in Scotland and they also owned land there. In fact, one of their properties was only nine miles from Rosslyn Chapel. In support of a connection between the Templar and Rosslyn Chapel we find that the St. Clair family had ties with the Templar, Robert the Bruce fought with them, the Chapel has a hidden chamber, and there are Templar symbols extant within the Chapel.

The Knights Templar supposedly disbanded about 150 years before the Chapel was built, but from the obvious examples of Templar symbols and signs, their ideas must have lived on after that period. There are also a great many connections to Freemasonry. William Sinclair 3rd Earl of Orkney, Baron of Roslin and 1st Earl of Caithness, is claimed by authors to be a hereditary Grand Master of the Scottish stonemasons, and it was he that built Rosslyn Chapel. A later William Sinclair of Roslin became the first Grand Master of the Grand Lodge of Scotland and, subsequently, several other members of the Sinclair family have held this position.

On the ABC documentary Jesus, Mary and Da Vinci, aired on 3 November 2003, Niven Sinclair hinted that the descendants of Jesus Christ existed within the Sinclair families. And with the Holy Grail supposedly being equally the cup used by Christ and a symbol of his descendants, we could hope for a clue within the Chapel grounds itself that points to the location of this holy object.

Sometimes I come across information that is very strange, but I can’t really use it for one of the books that I am working on, and I like to offer it here, first. One such tidbit came up recently. In a picture that was published showing a stone carving that was made in the area near the Rosslyn Chapel in Scotland, home to previous mysteries relating to the Holy Grail and Knights Templar, I noticed something important. First let’s take a look at that image, below:



found in courtyard at Rosslyn Chapel Carved into this rock are the words “In Hoc Signo Vinces” in Latin, which is said to mean, approximately, in English: “In This Sign, Thou Shall Conquer”. Our traditional historians tell us that this was the sign that Constantine saw, along with a Crucifix, just prior to a battle.

Something or rather someone from heaven told him to place the cross on his battle standards, and he would win the battle – which he did. And after that, because his warriors were willing to go the extra mile just for the symbol of the cross, he adopted Christianity as the official religion of Rome, and made it punishable by death to not join in the fellowship.

So let’s see if we can solve the puzzle as it appears on the surface. Follow along with me, and you will perhaps discover why my well-developed crap-detector was going off, sounding the alarm so to speak.

Take the Latin letters on the stone. Place them in order of how often they appear in the phrase, and you get Scion Eugh (i and n 3 times, s,c,o twice, h.,g,v,e once each), which means:

Scion = descendant, child, offspring, ancestor and also : bud or shoot of a plant, or offshoot
Eugh = the ancient way of spelling Yew, the English tree that was so dear to Medieval people because it was the only wood used to make their famous bows and perhaps arrows as well.

So we have, theoretically: A Scion, now with the English, which seems to tell us that the Holy Grail, long assumed to refer to a person who is in the direct lineage of Jesus Christ and his wife Mary, and who was chased out of France but came under the protection of the Knights Templar, who created or instigated the building of the Roswell Chapel, was indeed brought to England. So we look for him or her among the English. Perhaps in the Royalty, hint, hint.

Wow, what a sweet story. How clever we were. But the surface solutions are often mere decoys; crafted to make the dull of wits search endlessly in the wrong direction; a diversion if you will. And we know this because that story is simply not true or at least the part about In Hoc Signo Vinces is not.

Because that’s not actually what Constantine saw. What he saw were those characters as written in Greek, and not in Latin. And the Latin phrase itself renders, rather loosely, the Greek phrase that he actually saw, which was “en toutoi nika,” literally meaning “in this, conquer.”

Isn’t this another announcer? Yes, of course it is. And someone educated in the classics would have known that this was an improper usage of the actual sign that jump-stared Christianity in Europe. So that someone with eyes that see would come along later and know it for what it represents – another clue as to the whereabouts of the Holy Grail. Much like the parables of Jesus, where one had to search deeper for the true meanings. And this was an important announcer for us..

I should mention that not always do the results of a Cryptological search of letter frequencies result in meaning in the originally encrypted language. The Middle Age scribes in England, for instance, used Latin for the text, but the decryption would provide letters in Anglo-Saxon, Old Welsh, or something similar. However, in the Rosslyn Chapel texts they do provide meanings in the same language that the original text was in.

With those words in Greek, without spacing or punctuation, we have “entoutoinika”; and we will now work with that source. But first I need to mention some details about the structure of the Greek alphabet as a sort of background to our work. We will be seeing the letters Iota and Nu shortly.

The alphabetical letter I, or Iota in Greek, is the ninth letter of the Greek alphabet. It was derived from the Phoenician letter Yodh.[Hebrew Yod ] Letters that arose from this letter include the Latin I and J.

Iota represents the sound for the letter “i”. The word is used in a common English phrase, “not one iota”, meaning “not the slightest amount”. This refers to iota, the smallest letter, or possibly yodh, the smallest letter in the Hebrew alphabet.

The alphabetical letter “n” or Nu in Greek, is the 13th letter of the Greek alphabet. It is derived from the ancient Phoenician language nun [ Hebrew Nun]. Its Latin equivalent is N, though the lowercase resembles the Roman lowercase v.

On the surface, if someone mentioned Iota Nu, rather than looking for some Greek Chapter for students at some University, I would consider their association with “the smallest” and the fact that Nu in Old English gave way to the Scots language nou or nu, meaning “now” and “now that”.

Could we leap forward and say that it might indicate that the Knights Templar, said to be the caretakers and guardians of the Holy Grail, are clear in mind and heart, “now that they have the smallest one”, or the young descendant of that most Holy line? It’s a thought, but let’s dig deeper.

Let’s examine the Biblical or Hebrew associations, which I am sure the Knights Templar would have done when they created this textual clue. We mentioned that iota was the smallest letter in the Greek and that yud was the smallest letter in the Hebrew alphabet. Yod (also spelled Yud) is the tenth letter of the Hebrew alphabet. It has the sound of “Y” and its meaning, according to the Rabbis, is associated with continuity.

The Hebrew letter N, for Nun, is the fourteenth letter of the Hebrew alphabet. Its meaning is tied to both kingship and miracle. There are two types of nuns. The ““bent” nun (nun kefufah) either begins or is in the middle of a word. The straight, or final nun (nun peshutah), is employed only at a word’s end. The Talmud tells us that the nun kefufah represents one who is bent over and the nun peshutah is one who is straight. The Maharal explains that the two nuns represent the two fundamental approaches to serving God: fear and love. The first person serves God out of awe, fear. Therefore, he is hunched over. The second person serves God out of love and thus stands straight. This person is also characterized by generosity, because love represents openness.

Our clues from the Hebrew language are thus “continuity” and “generosity, love and openness”. We know who pioneered the idea of love and generosity, whose openness to helping all of humanity was evidenced right down to his crucifixion, and a continuity of that surely points to a descendant.

But there are even more clues available when we examine these two letters together. In Hebrew lore, Nun also means “kingship.” There is a verse in Tehillim regarding Mashiach that states: “May his name (Yinon) endure forever, as long as the sun.” According to Rashi, Yinon refers to kingship. If we break the word “Yinon” into two—yud and nun—nun means kingship, and putting a yud before a word denotes continuity. Therefore, the name Yinon implies that the kingship of Mashiach will endure forever. A user from New York, U.S.A. who replied on a name etymology website, says the name (YN) Yinon is of Hebrew origin and means “He will have descendants.”

He will be king, he will have descendants, and his name will endure forever, as long as the sun. Now we seem to be getting closer. So let’s examine what we got from the encrypted letters.

I’m going to give this in three parts, and here are the first two. On the left is the letter in Greek, like the original text, and next to it the frequency that the letter appears in the text itself.

i: 2
o: 2
t: 2
a: 1 Iota

n: 2
u: 1 Nu

So now you see why I wandered into a detailed examination of those letters in both Greek and Hebrew. Recall that Greek was the language in which the Esdras text came from, and Hebrew is the association with the Holy Lands of the Templar as well as Jesus and Mary.

But wouldn’t the letters iota and nu also spell “in”? Of course they do. In fact, you could say, using the Greek language iota nu and everyone would understand “i” plus “n”. In where or in what is this referring to?

So here’s the third and final part of the encrypted text:

e: 1
k: 1 ek.
iota nu = names of Greek letters i and n, or in. So in “ek” or “in Loch Eck”?

Loch Eck is a distance of 69.95 mi (112.58 km) due west of Edinburgh. An inside Lock Eck is the famous Paper Caves, a deep rent or fissure in a high precipice situated about a quarter of a mile south of Coirantee. There are numerous deep holes near, which might well be available for purposes of concealment. [According to the book Scotland’s Places]

The western hillside of the loch hosts the famous ‘Paper Caves’ hidden in a deep cleft of the rocks. This was where the 9th Earl of Argyll hid the deeds and charters for the Campbell clan’s land in a time of threat, and ultimately saved Inveraray Castle and their estate as a result. [Castle Lachlan]

So, they were used in times of threat to conceal the most important documents of the land, that prove who owns the land and charters associated with the Royalty and especially Kings of Scotland.

During my research I discovered this important mention: “Beneath my feet, the hillside is riddled with an interconnected series of tunnels and chambers, some so tight as to be impassable, others large enough for a person to climb through, their way lit by thin shafts of light falling from cracks in the rocks above. None of the openings I have found so far are big enough to clamber into so, instead, I call out into a small fracture in the rock face ahead of me, and hear myself distantly and half-heartedly reply. I scramble over the rocks, climbing further up the slope. And then I see it. A gaping maw ripped out of the hillside, completely invisible until I’m right on top of it. At least ten meters tall, and a little more than a meter apart, the walls of the chasm, green and slick with algae and lichen, taper inward as the ground falls away toward a great obsidian slash through the rock, which leads beneath the earth, and into the eerie, silent darkness. Argyll’s supporters were right; you could hide a world of secrets down here. And so they did. Down here in the darkness, the little wooden chest holding those precious papers was kept safe. Away from the harsh elements. Away from prying eyes. Away from the clutches of the loyalist militiae. A Campbell family secret. Right here, in this cave. A secret which would outlive Argyll himself. I climb out of the crevasse, onto a narrow ridge carpeted with moss and clover, which ends abruptly in an overhang, to reveal the loch spread out beneath me. I search the surface until I find the lone kayak once more, then in my mind I turn the page a final time, to the failed rebellion.” [Secret Diary]

Anticipating his imminent downfall, the Earl’s closest supporters smuggled his most valuable papers, including the titles to his estates, out of Inverary, and entrusted them with one of his most faithful servants, to be hidden in the caves, out of loyalist reach. Down here in the darkness, the little wooden chest holding those precious papers was kept safe. And that safety was found away from the harsh elements, prying eyes, and the clutches of the loyalist militiae. A secret which would outlive Argyll himself.

On Saturday, 30th June, 1685, less than a month after the skirmish at Eilean Dearg, Archibald Campbell, Ninth Earl of Argyll and Chief of Clan Campbell, became the latest rebel to be executed. A warning to any tempted to champion his cause. As the blade of the Maiden fell, Argyll’s decapitated corpse went into spasm, leaping to its feet and showering the crowded onlookers with his blood. A macabre full stop on the pages of Argyll’s life.

But, thanks to the actions of his supporters, his legacy lived on.

So we know that the most important items were stored in the Paper Caves of Lock Eck. And we know that our message contents points to that location. But from there, how would they have gotten to the New World?

Easily. Take a look at the below image of Lock Eck. It’s not that far from Rosslyn Chapel, and from there you could easily go out into the Atlantic.



But from there where did it go? Well, it’s a straight shot from there to Nova Scotia (New Scotland). In fact, this is the area where most of the voyages done by the Scots prior to Columbus were said to have embarked from. And it’s secluded enough to hide the operation from nosy eyes.
Here’s an image to prove that:




So, we’ve gotten from Rosslyn Chapel to the embarkation point to the New World. I will leave this to others to explain whether the ships carrying the Holy Grail ended up on Oak Island, or whether, as many believe, they continued on into the Louisiana territory when the Acadians moved to there and became our own Cajuns of today. My part in this epic journey ends here.

Although, as always, if you need any help with other keys to this mystery, and that help involves the translation or decryption of esoteric texts, you know how to reach me.

Thank you for sticking with me through this rather long report.

[Olam]

Thank you so much for this.
I live in Montreal.
In the deep basement of our majestic Cathedral, there is the foundational corner stone of the original chapel.
On there is carved a Templar cross. This info and photo of the stone is in this facinating book from author: William F. Mann
.
William F. Mann is an officer of the Knights Templar of Canada’s Grand Executive Committee, a member of its Grand Council, and serves as the Sovereign Great Priory’s Grand Archivist. The author of The Knights Templar in the New World and The Templar Meridians, he lives in Milton, Ontario, Canada.a : https://www.simonandschuster.com/boo.../9781620555279

You can read how the Templars found a suitable place for the survivors of the bloodline to settle and renew the blood with the local natives who supposedly had a compatible bloodline. They ended up in Hochelaga ( Montreal) after having been brought there, inland and safe, by the seashore micmacs in Nova Scotia.
Our Quebec flag has the lilies on there....
I was told by a very good shaman native lady friend that the bloodline was alive and dense here in Quebec.
For me, it's been something that I always had in the back of my mind as I have native decendents in the family and my enlarged family has always been very psycic and good with animals and healing. I myself do some of that.
Of coarse it's very difficult for me to think that I could carry that bloodline, but there is something there that has always been.
Anyhow, thanks so much for this info and please continue.
Many blessings to you.

[Jim_Duyer]

Posted by Olam (here)
Thank you so much for this.
I live in Montreal.
In the deep basement of our majestic Cathedral, there is the foundational corner stone of the original chapel.
On there is carved a Templar cross. This info and photo of the stone is in this facinating book from author: William F. Mann
.
William F. Mann is an officer of the Knights Templar of Canada’s Grand Executive Committee, a member of its Grand Council, and serves as the Sovereign Great Priory’s Grand Archivist. The author of The Knights Templar in the New World and The Templar Meridians, he lives in Milton, Ontario, Canada.a : https://www.simonandschuster.com/boo.../9781620555279

You can read how the Templars found a suitable place for the survivors of the bloodline to settle and renew the blood with the local natives who supposedly had a compatible bloodline. They ended up in Hochelaga ( Montreal) after having been brought there, inland and safe, by the seashore micmacs in Nova Scotia.
Our Quebec flag has the lilies on there....
I was told by a very good shaman native lady friend that the bloodline was alive and dense here in Quebec.
For me, it's been something that I always had in the back of my mind as I have native decendents in the family and my enlarged family has always been very psycic and good with animals and healing. I myself do some of that.
Of coarse it's very difficult for me to think that I could carry that bloodline, but there is something there that has always been.
Anyhow, thanks so much for this info and please continue.
Many blessings to you.

Thank you! That's amazing information. I believe strongly that they are with you in Canada and have been all along. I could not locate them among the Cajuns. Not to say they are not there as well, but the evidence is thinner. The Micmac are an amazing people as well.

[onawah]

Are you familiar with the work of Sir Lawrence Gardner
http://www.karenlyster.com/body_bookish.html
...and if so, would you share your impressions? Thanks

Posted by Jim_Duyer (here)

Although, as always, if you need any help with other keys to this mystery, and that help involves the translation or decryption of esoteric texts, you know how to reach me.

[Olam]

Here is a good example of Cymatics in action.
Sound materializing in 3D.

Source: https://youtube.com/watch?v=1yaqUI4b974

[Jim_Duyer]

Posted by onawah (here)
Are you familiar with the work of Sir Lawrence Gardner
http://www.karenlyster.com/body_bookish.html
...and if so, would you share your impressions? Thanks

Posted by Jim_Duyer (here)

Although, as always, if you need any help with other keys to this mystery, and that help involves the translation or decryption of esoteric texts, you know how to reach me.

I read one or more of his works a few years ago. With time, and much research, which of course includes falling down rabbit holes and false ends, along with absolutely astounding revelations that turn out to be not so much, I have learned that the sages who at first seem to be walking along the hot rail of the subway, and not on the sidewalks like most of us, do have some genius to share. So while I have heard others disparage him as being a bit out there, I don't agree with that. He's interesting and seems to hit certain angles of a different degree on the compass. Which is what we need - thinkers not robots.

[Jim_Duyer]

Posted by Olam (here)
Here is a good example of Cymatics in action.
Sound materializing in 3D.

Source: https://youtube.com/watch?v=1yaqUI4b974

Thanks for sharing that. One day many years ago, before I began translating the messages from space that are even today piggy-backing on the fast burst radio transmissions that arecibo and others have recorded, I read something that simply changed my way of looking at things. Suddenly things made more sense. And that was, that radio waves are sound, but they are equally color. I spend the time of my life prior to that by compartmentalizing waves as either a component of sound, music, tempo, etc., or portrayed as colors, some of which we see, and others which we do not. Now I understand the link between the two. Now when I hear of sound, I automatically search for the pattern of color that it provides.
I have no music in my life. I rarely turn on the speakers on my computer, have no radio, record player, MP3, etc., etc. I do not watch much TV and never any music videos. I started doing that about 12 years ago.
Now, once every three months, I put on youtube videos of America or Britain has talent, and I listen to three or
four straight hours of new talent, usually young people with amazing voices and lots of hope. And I usually cry.
Whether that is because of the total lack for the prior months or just the stirring music I don't know.
So I still like music, but I had to shut it out. And, perhaps coincidentally, but equally perhaps not, that was the point at which things began to make sense for me and I began to find hidden texts, and decipher alien messages, and translate previously untranslated Sumerian tablets and Hurrian and Anglo-Saxon writings, etc. So when one door closes another opens. Is it worth it to lose music in exchange? Perhaps not. But I could also ask if there is not some component of that music, some wavelength or series of shifts, that is keeping humanity in the dark?
I understand that it is a bizarre thought, but a bold one to be sure.

[Olam]

Posted by Jim_Duyer (here)

Posted by Olam (here)
Here is a good example of Cymatics in action.
Sound materializing in 3D.

Source: https://youtube.com/watch?v=1yaqUI4b974

Thanks for sharing that. One day many years ago, before I began translating the messages from space that are even today piggy-backing on the fast burst radio transmissions that arecibo and others have recorded, I read something that simply changed my way of looking at things. Suddenly things made more sense. And that was, that radio waves are sound, but they are equally color. I spend the time of my life prior to that by compartmentalizing waves as either a component of sound, music, tempo, etc., or portrayed as colors, some of which we see, and others which we do not. Now I understand the link between the two. Now when I hear of sound, I automatically search for the pattern of color that it provides.
I have no music in my life. I rarely turn on the speakers on my computer, have no radio, record player, MP3, etc., etc. I do not watch much TV and never any music videos. I started doing that about 12 years ago.
Now, once every three months, I put on youtube videos of America or Britain has talent, and I listen to three or
four straight hours of new talent, usually young people with amazing voices and lots of hope. And I usually cry.
Whether that is because of the total lack for the prior months or just the stirring music I don't know.
So I still like music, but I had to shut it out. And, perhaps coincidentally, but equally perhaps not, that was the point at which things began to make sense for me and I began to find hidden texts, and decipher alien messages, and translate previously untranslated Sumerian tablets and Hurrian and Anglo-Saxon writings, etc. So when one door closes another opens. Is it worth it to lose music in exchange? Perhaps not. But I could also ask if there is not some component of that music, some wavelength or series of shifts, that is keeping humanity in the dark?
I understand that it is a bizarre thought, but a bold one to be sure.

Thank you for your reply, it opens up so much of what I have collected in all the reading I have done. I will share with you some of that if it can help with decoding those cubes. First thing that came to mind though is your comment about crying while hearing great soulful voices. As far as I can remember, certain songs I could not listen to as they would stur up strong emotions and it made me uncomfortable. Sound for me has always been at the front of my life, I am a sound technician now as well as a musician. I have been playing guitar for a long time, but have only started singing seriously in the last 2 years. I remember years ago, I would try to sing songs that meant something to me and I would start crying as soon as I sang. I could never get thru a song without crying so I stopped. Now I feel that the reason I was crying is because that emotional burst was putting me the ego in contact with my soul, the real me. It was like reuniting with a long lost love every time. I really feel that music puts us right back into our soul essence and that was too much to bare for the unprepared me (ego). Now when I sing, its like a great release of tension and sadness and then my body vibrates in high frequency.
We are lost souls and when we find ourselves, it can be overwhelming but so rewarding!

OK as for those cubes in the chapel, as you see above in the cymatic example, probably the thing to do is reverse the message, start from the geometry on a cube and find the corresponding frequency or note. Then if you truly are decoding the message, I think the next step is to play that chord, all those notes together in the chapel.
Gregorian chants did something like that where they would sing in canon in a reverberant room using sacred frequencies called solfegio. That comes from the fact that the mathematical base of the music was different than today.
Musicians of today use middle A440Hz to tune together.
Back in the Gregorian times, they used A432Hz.
There are good threads in this forum about 432Hz base.
What I am getting at is that those Gregorian chants would create Standing waves in the room.
Zones of acoustic pressure where the volume changes drastically.
Today, it's all about removing those standing waves in music studios, but for meditation, it is a tool.
One thing I learned about 432Hz is that the upper harmonics, seem to be infinite, while our modern 440Hz base is more static and not as harmonious in the created harmonics from playing many notes together(chord).
If you want to experiment with finding the actuAl notes linked to the cube geometries, start with a 432Hz base as that is was present at the time.
If you use a 440Hz base, you are loosing your time.

See here this great page about all of the above.
https://helioda1.blogspot.com/2015/0...-geometry.html

All this is also confirmed in the following books:
" A little book of coincidences in the solar system" by John Martineau.
He explains how even the planets create sacred geometry in the sky . Compare the cymatics created by a 432Hz base and the geometry of the planets and they all fit together.
As above, so below.
https://www.goodreads.com/book/show/...e_Solar_System

Then also " The dimensions of paradise" by John Michell
https://www.goodreads.com/book/show/...ns_of_Paradise
He talks about St Mary's chapel in there and the related sacred geometry.
The concept of the New Jerusalem, which in part is anywhere you can create this sacred geometry physically. Which I think is the key to having the right standing waves created by the sacred notes played in that space....

Now I don't know that if the right notes, chords are played in the Chapel that a hidden door might open or anything like that, but for sure it might open you up to a present "other dimension" where you can shake hands with the divine. The divine having been there all along, waiting for the initiates to cross the rubicon after having sang the notes.
Coming back to the Gregorian chants, you might have to have as many singers as there are notes all sing together to create the appropriate standing waves which are like scalar waves in that they become infinite in their energy and propagation.

Something like that!
:-)

[Jim_Duyer]

Posted by Olam (here)

Posted by Jim_Duyer (here)

Posted by Olam (here)
Here is a good example of Cymatics in action.
Sound materializing in 3D.

Source: https://youtube.com/watch?v=1yaqUI4b974

Thanks for sharing that. One day many years ago, before I began translating the messages from space that are even today piggy-backing on the fast burst radio transmissions that arecibo and others have recorded, I read something that simply changed my way of looking at things. Suddenly things made more sense. And that was, that radio waves are sound, but they are equally color. I spend the time of my life prior to that by compartmentalizing waves as either a component of sound, music, tempo, etc., or portrayed as colors, some of which we see, and others which we do not. Now I understand the link between the two. Now when I hear of sound, I automatically search for the pattern of color that it provides.
I have no music in my life. I rarely turn on the speakers on my computer, have no radio, record player, MP3, etc., etc. I do not watch much TV and never any music videos. I started doing that about 12 years ago.
Now, once every three months, I put on youtube videos of America or Britain has talent, and I listen to three or
four straight hours of new talent, usually young people with amazing voices and lots of hope. And I usually cry.
Whether that is because of the total lack for the prior months or just the stirring music I don't know.
So I still like music, but I had to shut it out. And, perhaps coincidentally, but equally perhaps not, that was the point at which things began to make sense for me and I began to find hidden texts, and decipher alien messages, and translate previously untranslated Sumerian tablets and Hurrian and Anglo-Saxon writings, etc. So when one door closes another opens. Is it worth it to lose music in exchange? Perhaps not. But I could also ask if there is not some component of that music, some wavelength or series of shifts, that is keeping humanity in the dark?
I understand that it is a bizarre thought, but a bold one to be sure.

Thank you for your reply, it opens up so much of what I have collected in all the reading I have done. I will share with you some of that if it can help with decoding those cubes. First thing that came to mind though is your comment about crying while hearing great soulful voices. As far as I can remember, certain songs I could not listen to as they would stur up strong emotions and it made me uncomfortable. Sound for me has always been at the front of my life, I am a sound technician now as well as a musician. I have been playing guitar for a long time, but have only started singing seriously in the last 2 years. I remember years ago, I would try to sing songs that meant something to me and I would start crying as soon as I sang. I could never get thru a song without crying so I stopped. Now I feel that the reason I was crying is because that emotional burst was putting me the ego in contact with my soul, the real me. It was like reuniting with a long lost love every time. I really feel that music puts us right back into our soul essence and that was too much to bare for the unprepared me (ego). Now when I sing, its like a great release of tension and sadness and then my body vibrates in high frequency.
We are lost souls and when we find ourselves, it can be overwhelming but so rewarding!

OK as for those cubes in the chapel, as you see above in the cymatic example, probably the thing to do is reverse the message, start from the geometry on a cube and find the corresponding frequency or note. Then if you truly are decoding the message, I think the next step is to play that chord, all those notes together in the chapel.
Gregorian chants did something like that where they would sing in canon in a reverberant room using sacred frequencies called solfegio. That comes from the fact that the mathematical base of the music was different than today.
Musicians of today use middle A440Hz to tune together.
Back in the Gregorian times, they used A432Hz.
There are good threads in this forum about 432Hz base.
What I am getting at is that those Gregorian chants would create Standing waves in the room.
Zones of acoustic pressure where the volume changes drastically.
Today, it's all about removing those standing waves in music studios, but for meditation, it is a tool.
One thing I learned about 432Hz is that the upper harmonics, seem to be infinite, while our modern 440Hz base is more static and not as harmonious in the created harmonics from playing many notes together(chord).
If you want to experiment with finding the actuAl notes linked to the cube geometries, start with a 432Hz base as that is was present at the time.
If you use a 440Hz base, you are loosing your time.

See here this great page about all of the above.
https://helioda1.blogspot.com/2015/0...-geometry.html

All this is also confirmed in the following books:
" A little book of coincidences in the solar system" by John Martineau.
He explains how even the planets create sacred geometry in the sky . Compare the cymatics created by a 432Hz base and the geometry of the planets and they all fit together.
As above, so below.
https://www.goodreads.com/book/show/...e_Solar_System

Then also " The dimensions of paradise" by John Michell
https://www.goodreads.com/book/show/...ns_of_Paradise
He talks about St Mary's chapel in there and the related sacred geometry.
The concept of the New Jerusalem, which in part is anywhere you can create this sacred geometry physically. Which I think is the key to having the right standing waves created by the sacred notes played in that space....

Now I don't know that if the right notes, chords are played in the Chapel that a hidden door might open or anything like that, but for sure it might open you up to a present "other dimension" where you can shake hands with the divine. The divine having been there all along, waiting for the initiates to cross the rubicon after having sang the notes.
Coming back to the Gregorian chants, you might have to have as many singers as there are notes all sing together to create the appropriate standing waves which are like scalar waves in that they become infinite in their energy and propagation.

Something like that!
:-)

Yes, I've never told anyone about the music. Probably because I was embarrassed. But then I decided to hell with it- it's part of who I am. But it does very clearly seem to connect the heart to the sole or something like that. I like your information above - perhaps I will forward it to the father and son working on the musical aspect of it, since I don't really listen to any and the research alone would do me in. Ha Ha.

Speaking of 432. Above I said that music and vision are connected waves of radio frequencies? 432 is in the Ultra Violet spectrum, that we can not see. I translated a few verses about the brothers of Aaron who were turned into charcoal when they put the wrong incense in the Ark of the Covenant. This is in the Bible. Anyway,
the names of one of the materials that they used translates to a mineral that burns infrared when heated.
So apparently that 432 was highly offensive, or even harmful, to Yahweh. Or other gods? Something to think about.

[Olam]

Posted by Jim_Duyer (here)

Posted by Olam (here)

Posted by Jim_Duyer (here)

Posted by Olam (here)
Here is a good example of Cymatics in action.
Sound materializing in 3D.

Source: https://youtube.com/watch?v=1yaqUI4b974

Thanks for sharing that. One day many years ago, before I began translating the messages from space that are even today piggy-backing on the fast burst radio transmissions that arecibo and others have recorded, I read something that simply changed my way of looking at things. Suddenly things made more sense. And that was, that radio waves are sound, but they are equally color. I spend the time of my life prior to that by compartmentalizing waves as either a component of sound, music, tempo, etc., or portrayed as colors, some of which we see, and others which we do not. Now I understand the link between the two. Now when I hear of sound, I automatically search for the pattern of color that it provides.
I have no music in my life. I rarely turn on the speakers on my computer, have no radio, record player, MP3, etc., etc. I do not watch much TV and never any music videos. I started doing that about 12 years ago.
Now, once every three months, I put on youtube videos of America or Britain has talent, and I listen to three or
four straight hours of new talent, usually young people with amazing voices and lots of hope. And I usually cry.
Whether that is because of the total lack for the prior months or just the stirring music I don't know.
So I still like music, but I had to shut it out. And, perhaps coincidentally, but equally perhaps not, that was the point at which things began to make sense for me and I began to find hidden texts, and decipher alien messages, and translate previously untranslated Sumerian tablets and Hurrian and Anglo-Saxon writings, etc. So when one door closes another opens. Is it worth it to lose music in exchange? Perhaps not. But I could also ask if there is not some component of that music, some wavelength or series of shifts, that is keeping humanity in the dark?
I understand that it is a bizarre thought, but a bold one to be sure.

Thank you for your reply, it opens up so much of what I have collected in all the reading I have done. I will share with you some of that if it can help with decoding those cubes. First thing that came to mind though is your comment about crying while hearing great soulful voices. As far as I can remember, certain songs I could not listen to as they would stur up strong emotions and it made me uncomfortable. Sound for me has always been at the front of my life, I am a sound technician now as well as a musician. I have been playing guitar for a long time, but have only started singing seriously in the last 2 years. I remember years ago, I would try to sing songs that meant something to me and I would start crying as soon as I sang. I could never get thru a song without crying so I stopped. Now I feel that the reason I was crying is because that emotional burst was putting me the ego in contact with my soul, the real me. It was like reuniting with a long lost love every time. I really feel that music puts us right back into our soul essence and that was too much to bare for the unprepared me (ego). Now when I sing, its like a great release of tension and sadness and then my body vibrates in high frequency.
We are lost souls and when we find ourselves, it can be overwhelming but so rewarding!

OK as for those cubes in the chapel, as you see above in the cymatic example, probably the thing to do is reverse the message, start from the geometry on a cube and find the corresponding frequency or note. Then if you truly are decoding the message, I think the next step is to play that chord, all those notes together in the chapel.
Gregorian chants did something like that where they would sing in canon in a reverberant room using sacred frequencies called solfegio. That comes from the fact that the mathematical base of the music was different than today.
Musicians of today use middle A440Hz to tune together.
Back in the Gregorian times, they used A432Hz.
There are good threads in this forum about 432Hz base.
What I am getting at is that those Gregorian chants would create Standing waves in the room.
Zones of acoustic pressure where the volume changes drastically.
Today, it's all about removing those standing waves in music studios, but for meditation, it is a tool.
One thing I learned about 432Hz is that the upper harmonics, seem to be infinite, while our modern 440Hz base is more static and not as harmonious in the created harmonics from playing many notes together(chord).
If you want to experiment with finding the actuAl notes linked to the cube geometries, start with a 432Hz base as that is was present at the time.
If you use a 440Hz base, you are loosing your time.

See here this great page about all of the above.
https://helioda1.blogspot.com/2015/0...-geometry.html

All this is also confirmed in the following books:
" A little book of coincidences in the solar system" by John Martineau.
He explains how even the planets create sacred geometry in the sky . Compare the cymatics created by a 432Hz base and the geometry of the planets and they all fit together.
As above, so below.
https://www.goodreads.com/book/show/...e_Solar_System

Then also " The dimensions of paradise" by John Michell
https://www.goodreads.com/book/show/...ns_of_Paradise
He talks about St Mary's chapel in there and the related sacred geometry.
The concept of the New Jerusalem, which in part is anywhere you can create this sacred geometry physically. Which I think is the key to having the right standing waves created by the sacred notes played in that space....

Now I don't know that if the right notes, chords are played in the Chapel that a hidden door might open or anything like that, but for sure it might open you up to a present "other dimension" where you can shake hands with the divine. The divine having been there all along, waiting for the initiates to cross the rubicon after having sang the notes.
Coming back to the Gregorian chants, you might have to have as many singers as there are notes all sing together to create the appropriate standing waves which are like scalar waves in that they become infinite in their energy and propagation.

Something like that!
:-)

Yes, I've never told anyone about the music. Probably because I was embarrassed. But then I decided to hell with it- it's part of who I am. But it does very clearly seem to connect the heart to the sole or something like that. I like your information above - perhaps I will forward it to the father and son working on the musical aspect of it, since I don't really listen to any and the research alone would do me in. Ha Ha.

Speaking of 432. Above I said that music and vision are connected waves of radio frequencies? 432 is in the Ultra Violet spectrum, that we can not see. I translated a few verses about the brothers of Aaron who were turned into charcoal when they put the wrong incense in the Ark of the Covenant. This is in the Bible. Anyway,
the names of one of the materials that they used translates to a mineral that burns infrared when heated.
So apparently that 432 was highly offensive, or even harmful, to Yahweh. Or other gods? Something to think about.

I have no idea about the link to infrared and 432Hz. From what I gathered from my research, the Gregorian chants could change the molecular structure of the water in our bodies. A modern analogy of that would be Masaro Emoto's work with water.

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