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Originally posted by Kupios
I recently acquired a second hand copy of David Wood's book 'Genesis'.
I recently acquired a second hand copy of D. Wood's book Genesis.
I have read most of it now but am TOTALLY confused! Is this for real???
It sounds SO incredible and so 'proof' packed that I am inclined to believe it but the implications are awesome!!!
If it is at all true then why don't we hear about it more here at atsnn?
Originally posted by Kupios
Here is a llink to an introductory synopsis of Genisis,
Originally posted by johnlear
I remember Jim McCampbells extraordinary geometrical finds in Poussin's Les Bergers d'Arcadie and his knowledge of how painters of the era hid data. I do remember that the exact angles of the staff's, the angle of the arms, the direction each person was looking all had a hidden meaning. McCampbell used Poussin's Self-Portrait (Louvre) and The Temptation of St. Anthony, David Tennier, the younger (Museo del Prado) were a few of the paintings he used both in 'Awesome Secrets' and for the book he planned to write: Apollo's Message - A New View of History. His theme was the influence of Gods upon western civilization.
from Key to the Sacred Pattern by Henry Lincoln (St Martins Press)
(regarding a communication to Lincoln from Wood and related on P. 178)
Here, for the first time, were findings which fell squarely into the category of 'the demonstrable and provable'. More exciting still, the new discovery was geometric and pentagonal. His cartographic skill had enabled him to move the investigation into a new dimension. it was now clear that my discovery of the Pentangle of Mountains was but the first glimpse of something much more complex. Here was proof that there had been a conscious and highly skilled geometric plan, which governed the placing of certain structures in the Rennes-le-Chateau landscape.
I was happy to write a Foreword to his book Genisis, which was published in 1985, even though I was bound to say that I could not accept his conclusions, which were that the extraordinary ingenuity of the work implied an intelligence that was, in some sense, 'superhuman'. These conclusions worried me, as they crossed from the certain to the subjective and I could not follow him down this path.
His mathematics and geometry, however, were impressive and seemed to be a logical extension of the pathway upon which I had already stumbled. To my six demonstrable and provable facts, I could now add a seventh. David Wood had identified pentagonal geometry associated with a circle of churches and castles.
-wee snip to P 180-
In 1994 David Wood published Geneset, a further exploration of the pentacle which he had discovered. But, to my astonishment, although he was able o indicate in my account of the extension to his discovery, he continued completely to ignore the new findings. However, his Circle of Churches is not the only Circle of Churches in the Rennes-le-Chateau area. His accurate alignments are not the only accurate alignments. One cannot regret that, with his unquestioned mathematical expertise, he has chosen to turn his back on anything but his own -admittedly beautiful- fragment of the geometry. Were he to bring his skills (which I lack) to the greater mystery, I am convinced that he could extend the boundaries of our knowledge yet further.
from The Templars Secret Island by Erling Haagensen and Henry Lincoln (Cassell & Co)
Knowledge...Baphomet...Sophia... The Wisdom worshipped by the Templars was precious to them and to their mentors. And not only to them. They knew how priceless was the gift which they had inherited and which they had to pass on. They knew it had tobe protected for the generations yet to come. They knew that others must be taught the nature and the use of their bequest.
But the world in which they lived was essentially one of ignorance. The vast majority of human beings were superstitious, illiterate, untaught. The miniscule handful who were capable of understanding and using the treasure, lacked even books in which to disseminate their knowledge. Besides- that knowledge was sacred. It attempted to understand and define the workings og Gods creation and so it was not lightly to be shared, It was guarded. Therefore, solis sacerdotibus - only for the initiated.
But - why build a pattern of churches? we must attempt an explanation - though this can be no more than our own personal and subjective reading of the enigmatic facts of Bornholme and of Rennes-le-Chateau. Future discoveries will, inevitably, amend or augmend the hypothesis, just as our earlier hypotheses have been altered by the Bornholme layout.
It seems to us that the origin of this body of knowledge will be found to lie in a more distant past than we can yet glimpse. But the shape and the significanse of the mathematics and geometry by which it is defined must have been part of a continuing, secret tradition over many generations. At some remote time, the extraordinary coincidence of the rennes-le-Chateau Pentacle of Mountains was recognised. Here, then, on earth, was the sacred place which resonated with the Music of the Spheres. Here, God-given, was the pattern of Nature.
Originally posted by johnlear
His theme was the influence of Gods upon western civilization.
Some apocryphal versions of the story of Cain proclaim that he was the son of Adam and Lillith, not Eve. Before becoming Adam’s first wife, Lillith had been the consort of God before coming to Earth as a fallen angel. The full details of her story are probably too well-known to bear repeating here, but it is interesting that of the two alternate traditions concerning Cain’s parentage, both involve the Luciferian Nephilim bloodline. Also of interest is the fact that the lily is known to have taken its name from Lillith, and the heraldic device emblematic of this bloodline is the fleur-de-lys (widely accepted as symbolic of the lily). Could not this symbol, viewed within this context, in fact be the Flower of Lillith?
The Lillith/Samael connection is also pertinent in regards to our investigation because both Lillith and Samael are traditionally held to be the parents of the demon Asmodeus.1 Not only is Asmodeus the dominant image (shown mirroring Christ) in Rennes-le-Chateau, he is said to have played the central role in building the Temple of Solomon, the edifice from which the Knights Templar took their name. The recurrence of this strange figure in Grail lore has long perplexed observers, yet it would appear that both he and the descendants of Cain may in fact have shared a kindred ancestry. It is even said in some traditions that it was Asmodeus whom Moses called upon to part the Red Sea, and not God. Though portrayed as a demon or devil figure, his name reveals that he may not always have been viewed as such, for “Asmodeus” translates simply to “the Lord God.” (“Ashma” means “lord”, and “deus” means “god.”)
One cannot but admit that Cain seems to have engendered his own tradition, as evidenced in a strange Gnostic sect called the Cainites (named after the race of Cain’s descendants). Like the Carpocrateans, the Cainites believed that no one could be saved except by “making the journey through everything.” Epiphanius describes them as a group “consecrating... lustful or illegal acts to various heavenly beings” as a sort of sacrament. Interestingly, many scholars compare them to Satanists.
The extent to which the Merovingians knew of these alternate traditions is uncertain. Whether or not they believed in them is more uncertain still, yet it remains likely that they both knew about these traditions and took them quite seriously. To this very day, the coat of arms of the capital of the Merovingian empire, Stenay, bears an image of the Devil. In fact, the original name of Stenay was “Satanicum.” And the area Rennes-le-Chateau also contains many geographical references to the Devil. In addition to the Asmodeus statue at the church, there is an ancient stone monument in Rennes-le-Bains called “the Devil’s Armchair”, and there are hundreds of years worth of local legends pertaining to the appearance of the Devil on numerous occasions.