Herodotus before Pytheas' voyage was at a loss as to where the 'Kassiterides' were. These were assumed to be the tin isles until Pytheas describes 'the island' and named it 'Fish Island' which led to the confusion over Ictis. It was from the word 'Icthus' named after the huge pilchard shoals found at Burgh Island. Joseph of Arimathea was the Fisher King.
Joseph of Arimathea was a wealthy tin Merchant in this era. He was said in the Grail stories to have arrived on the Island of Sarras and from Melkin's prophecy, to be buried on the Island of Avalon. Joseph was buried with ‘duo fassula’ containing the blood and sweat of Jesus which was thought to be the Grail. These 'containers' (the word derived from a fallacious translation) were then confused with a singular receptacle that was sometimes known as the 'Grail Ark'.
Melkin's 'linea bifurcata' eventually gets translated as 'folded linen' by modern commentators which confuses the issue even more.....especially when Melkin's 'duo fassula' turns out to be the burial shroud of Jesus, better known as the Shroud of Turin.
Joseph is said to have brought with him what has since become known as the ‘Holy Grail’ to Britain, but this is in fact the body of Jesus in a tin lined casquet of Cedar oil. This then becomes known in the Grail stories as the 'Grail Ark'. Since the advent of the Romances, the ‘duo fassula’ and the Grail have become one and the same.
It seems, that Melkin has required us to solve a riddle for which he may have intended us to keep searching at Glastonbury until now. This we can never be sure of....... because if this was the case, how could he be sure that Joseph would be found eventually. How could he have guessed that the Monks at Glastonbury would transmute 'Glastonbury Tor' into the Island of Avalon thus misleading any future Grail questor? The most obvious answer is that prpoganda was produced in William of Malmesbury's later versions of his Gest Regnum and other writings that actively, but not obstensively, show the introduction of Material that concur with certain points mentioned in Melkin's prophecy. This interpolation is clearly recognisable and can be seen to be carried out in the hope that the gradual translocation of Avalon from Devon might be made to appear to relate to the Tor in Glastonbury. Due to Williams reputation as a credible and reliable historian, these later interpolations were assumed to have been written by him. They had one aim... to bring the burial place of Joseph on Avalon into the confines of the Glastonbury Abbey. The 'Bifurcated line' became established as supposedly reflecting some purposful directional or geometrical indicator from which the body and Sepulchre might be located. The body has never been found because it is on Burgh Island in Devon. However the Monk's ploy worked and every commentator exept one has been looking in the wrong place. http://eprints.utas.edu.au/2440/1/The_early_history_of_Glastonbury_Abbey.pdf
However it was Melkin who wrote the ‘Book of the Grail’ which contained this Hebraic occult knowledge that the Romance writers could not comprehend and thus allegorised. The French trobadours and Grail writers building and elaborating on the substance of Melkin's Grail book, using metaphor and imagination.
It seems that Melkin's prophecy, which cannot be traced back earlier than John of Glastonbury's ‘Cronica’ is based upon what Melkin actually had seen at the Tomb site of Joseph of Arimathea at the burial of King Arthur. Here Melkin found a (manuscript) body of information concerning Devon and Cornwall (Belerion). This historical sequence of events concerned Jesus, who as a single person, has changed the world as part of a divine plan set in ‘Biblical Time’.
This historical source information (Joseph's arrival at Avalon.... and the arcane occult manuscripts derived from the Jerusalem temple) was partly used by the French Grail writers, who were not aware of Jesus’s body in Avalon. As Melkin was never explicit on this point the troubadours knew something to do with him was brought from the Holy land to England. Hence we have allusions right through Grail literature to the shroud, a body in a sweet smelling tomb and a coffin who no one knows who lies therin.
In the true prophetic tradition, Melkin prognosticates on what will take place and when...at the opening of Joseph's tomb, indicating that if not wholly, then in part, he was divinely inspired.
Melkin has knowledge of the Ley system and the distances and angles within it. It appears that Melkin, is the source for all original Arthurian information that has come down to us today. Since Melkin’s prophecy was written, Avalon, where Arthur and Joseph are buried has been shrouded in mystery, but Melkin is responsible for renaming Ictis or Sarras as Avalon. Avalon connects Arthur and Joseph, both reputed to be buried there and Melkin’s genealogy recorded in John’s Cronica, connects them in a bloodline. Joseph is a blood relative of Jesus who is inextricably linked to the Grail, while the Grail, (as the modern world understands its substance), is buried with Joseph and Arthur in Avalon and this entire tradition has stemmed directly from Melkin.
For Joseph has with him in his sarcophagus two white and silver vessels, filled with the blood and sweat of the prophet Jesus and when his sarcophagus is uncovered, it will be seen whole and undisturbed, and will be opened to the whole world.
Thenceforth those who dwell in that noble isle, will lack neither water nor the dew of heaven. For a long while before the day of judgment (ludioialem) in Josaphat, open shall these things be and declared to the living’, thus far Melkin.
Abbadare mighty in saphat, noblest of pagans, has fallen on sleep with 104 other knights
Among these Joseph of Arimathea has found perpetual sleep in a marble tomb and he lies on two forked line next to the southern angle of an oratory, where the wattle is prepared above the mighty maiden and where the aforesaid 13 spheres rest. For Joseph has with him in his sarcophagus two vessels white and silver, filled with the blood and sweat of the prophet Jesus. When his sarcophagus is discovered, it will be seen whole and untouched, And will be opened to the whole world. Thenceforth those who dwell in that noble Isle will lack neither water nor the dew of heaven for a long time before the day of judgment in Josaphat and open shall these things be and declared to the living.
Any commentator on this passage will find it impossible to transliterate, simply because Melkin is concealing information sub textually, word clues rendering the passage as a whole incapable of fluid translation. The puns and double meanings are carefully thought out, but obtuse by deflection. The only way to understand the difficulty he must have had, conveying his message in layers of meaning and grasp what he has achieved, is to evaluate his choice of words. What follows is some of the hidden sub text in meanings he was trying to convey. It is almost as if he was appealing through the layers to different ways of understanding. The task of elucidating becomes less muddled if we take each word separately or if inseparable from another, using the combination.
Figure showing the line that Melkin indicates we would find the island where Joseph is buried 104 nautical miles from Avebury. Nautical miles for Melkin is an immutable measurement derived from division of the four quadrants of a globe in 360 degrees.
Overall a very difficult sentence to cobble together, possibly rendering the sense of a pagan island, rather than the bodies of pagans buried there. The pagan island scenario would concur in conjunction with Ley Lines, and would indicate that Melkin was aware of the existence of the Ley Line system and the island's inter-relation with Avebury, Montacute and the Lyonesse line.
This word string also could give a sense of pagan island that is guardian over those buried, and the ‘pre ceteris’ refers to their pre-eminence in all the world. Alternatively it could be referring to the island, coveting the bodies in plain view (before) the rest of the world. Island of Avalon – hungering after (looking after, happy to be taking care of), being covetous of the buried occupants that are not from this island of Britain, before the entire world, (until the world is ready).
As the reader will understand shortly, Melkin’s use of the word ‘sperulatis or sperulis’, twice in this prophecy, is rendered with two completely different meanings, even though Melkin ostensibly refers back to its first meaning as being the same as its second use, by employing the word ‘supradictis’ (aforesaid). So it is with the word ‘paganorum’ in the sense that it is used here as possibly being a pagan island (part of the old religion), yet the second use of the word after Abbadare, has a completely different sense.
Remember that Melkin is directing our thoughts toward an Island in the true sense of the word (unlike Glastonbury) and this island is by a river (the river Avon) and tidal as described in the Perlesvaus. Presumably this was the rivers name when Melkin was alive, but the etymology of Avon is ‘river’, thus the explanation of so many ‘River Avons’ in Britain.
Figure Showing the river Avon at the heads as it exits by Avalon in the hazardous tidal waters that surround the island as described in the Perlesvaus
From Du Cange ‘sperula’ is given as; ‘parva rotunditas volubilis, sicut solet, in sphæræ modum,’-- round compass, of a small volume, as is usually the manner of a sphere. The word is used twice, once as ‘sperulis’ as in this instance and once as ‘sperulatis’ secondarily, both of them having different meanings. The meaning here though is in direct reference to Avebury stone circle.
The Grail keepers would certainly be able to boast precedence(primacy) before Papal pretensions...... passing from Josephes to Brons and could be considered another line of succession or Branch other than the self-proclaiming imposter of Jesus’ inheritance.
The Roman Pontiff the first Bishop of Christendom deriving his claim by hypothesis from St. Peter, who only by Roman self-profession was ‘episcopus primus et Pontifex primordialis’. Melkin knew of what lay in this tomb and therefore was aware of the inaccuracies peddled by the Roman Church. Melkin understood the Divine plan and of the true meaning of Jesus’ reference to the Temple being rebuilt upon the third day (or within three days) and hence the story of Peter’s denial of Jesus three times being equitable with the three Grades to enlightenment. These three days are the grades of the Grail, but we will come to this when we investigate ‘Time’ in a later chapter.
Are the words of Jesus ‘And I tell you that you are Peter, and on this rock I will build my church, and the gates of Hades will not overcome it,’ similar to the promise given to David...... from which the Church and Gentiles inherited.
The Davidic line ended and others inherited. Are Christendom and Islam, along with the Jewish faith of the present day.... to become like the Davidic line as the precursor of a global spiritual inheritance. These spiritual inheritors of all the global Abrahamic religions are related by the prophets as Jews ( not in the modern sense but from all religions) set forth in a Divine Plan by the God of Israel? What is certain is that, without the Roman church most of the Globe would not be aware of the God of Israel. However Melkin knows that at the unveiling of the tomb, it would be the end of the Vatican.
The irony of disentangling Melkin’s prophecy through our initial investigation into the ‘Perpetual Choirs’ and scribing circles on the landscape, gives rise to even more perplexity. Could Melkin’s sense be that, Avebury adorning the British landscape, from which Ley line's interconnect or thread through the tomb of Joseph, have some attribute or function in the foretelling of its discovery.
The reader should not be too sceptical here as the two words following ‘sperulatis’ both impart a sense of future knowledge presently unknown. We must not dismiss the fact that Melkin has knowledge of the St. Michael Ley line; so is he imparting to us through this statement that these stone circles have some effect on, or direct our thoughts for the future collective benefit.
No one today has an idea of the stone circles proper function, but recognising that Melkin probably understood the use of stone circles (as he certainly knows about the St.Michael ley line); is he implying some sort of telepathic system ordering the thoughts of the collective? Melkin knew of the existence of the St. Michael Ley line, yet we have only recently rediscovered it. We should not ignore the use of two words which essentially mean ‘looking into the future’. So are the stone circles physical attributes on the landscape for channelling thought from individual communities or interlinking them in some way as their prevalence and conformity of shape seems to indicate relative functionality? However, ‘sperulis prophecie vaticinantibus’ may be indicating Melkin's understand of Avebury as a predictor rather than a calendar marking annual events. Is his meaning the circle that predicts future events that are encoded into its alignment geometry that will coincide with future astronomical alignments in time. Can any reader see any astronomical alignment with the 104 mile 'Joseph line' that leads to Avalon.
Abbadare, potens in Saphat, paganorum nobilissimus:
· Abbadare, has given rise to much speculation about the word’s provenance and meaning, but it would seem to be a reference to Jesus, meaning “The father's pearl”, (Abba- father, Dar- pearl from the Arabic, Aramaic, and Hebrew). As is intonated in the Grail romances, added to Joseph's connection with the importation of the Holy Grail, this reference would seem to indicate the presence also of Jesus's body within the island of Avalon. Joseph leaves Jerusalem, and arrives at Sarras, taking with him the Holy Graal, which is carried inside an ark or box. This refers metaphorically to Jesus, specifically with reference to a pearl being formed by the flesh just as it is grown in an oysters shell. It is formed in our body and its beautiful and precious substance remains long after the flesh that made it, has died. This is a profound reference to the spirit being a precious object born by an organic body, yet remaining long after the flesh has died. Not a metal, nor a gem but ‘a pearl of great price’….a spiritual soul created through God’s divine plan as in Mathew 13:46. As the reader will be aware the word ‘Abbadare’ would have been used by Melkin to avoid direct reference to Jesus's body to avoid adverse reaction from fundamentalist sensibilities. The Holy Grail, having a direct connection with Jesus, but in direct reference to his body at times but in the Glastonbury tradition the Grail being misunderstood for the Turin Shroud as the Duo Fassula. The references to the Grail in the romances being of a different order involving a spiritual quest, the likes of which cannot be found by searching or by hastening its occurrence in a lifetime. The Holy Grail is a derivative of the Latin ‘gradus’ meaning by degree', 'by stages', applied to a dish from a transliteration by Helinand. This dish was brought to the table in different stages or services during a meal in the Chrétien de Troyes poem. Essentially the pearl of great price is Jesus through whom by the will of his Father spiritual enlightenment is attained, hence ‘the Father’s pearl’
One possible sense would be, if we can assume that Melkin is aware of the Zerah connection (otherwise Sarras would not have been named after Zarah) and his reference to ‘paganorum’ is the old religion or even Jewish; ‘Jesus preeminent in the new wine, the noblest of the Jews’.
The most poignant transliteration of ‘potentem in Saphat’ should be understood as ‘he who’s might is in spiritual awakening’ which we shall see in connection with Jehosaphat. Without getting too ingenuous it could even be the result of a Glastonbury scribal change from Sarras rendering ‘Jesus the mighty of Zerah’, but this will only make sense once we understand that Joseph may well have been British.
In place of the common translation error rendering '104 thousand', Melkin is telling us that it is 104 nautical miles from Avebury to the Island of Avalon. This measurement is precisely 104 miles from a point, just right of centre within the Avebury circle, to the ‘Huer’s hut’ on Burgh Island as seen in figure 25. The 'Joseph line' drawn from Avebury to the resting place of Joseph is confirmed by Father William Good, as it passes directly over St. Michael’s Montacute.
Bale has definitely taken the understanding as Joseph being buried in a Marble tomb when he renders the phrase as 'somnum sub marmore coepit'. However 'Joseph de marmore' could be a reference to Melkin's understanding of Joseph of the sea as in 'sea trader'.
It is strange to contemplate that Joseph has buried Jesus twice in a ‘hewn tomb’ that is owned by Joseph himself. Once with a ‘fasciola’ as related by the Gospel accounts and the second time with a ‘doubled fasciola’…… which of course fits with the description of the Shroud of Turin which as we shall see shortly, suddenly appeared on the world stage, just after the Templars had visited the Isle of Avalon. As we have uncovered already, Melkin wrote the book of the Grail. Some of the early original source material for Melkin’s book of the Grail was obviously Joseph. Joseph brought the Grail to Britain and so affirms that he was responsible for depositing Jesus’ relics in Avalon, before being buried there himself by the first Grail keepers.
Without a St. Michael ley line and a point at which the two lines cross inside Avebury, the information given quite clearly, would be irrelevant. Melkin also could be assured that Joseph would not be associated with Neolithic stone circles or Ley lines.
Some commentators have used the most imaginative ways of trying to understand the meaning of 'bifurcata'. The most far fetched is derived from a meaning of 'in linea' as linen and 'bifurcata' as folded to give a folded linen cloth. If we get simplistic and accept Glastonbury as Avalon so we are no longer looking for directions to Avalon.....It is easy to understand how many have understood that Joseph is just described as 'lying in linen'. This could be understandable if all the previous efforts of the Glastonbury institution had not been bent on establishing their locale as Avalon. No early commentator has even posited Joseph lying in linen because they knew 'where' Joseph lay i.e in Avalon..... was the crux of Melkins prophecy and they needed to establish a link with their Oratory.
However we are looking for instructions that lead to Joseph's tomb. Both the 104 and the 13..... the other pertinent points in the instructions both confirm by accuracy that they are indicating the Island of Avalon, the subject of the puzzle. However some like William of Worcester who measured and described the abbey church around 1478 at Glastonbury have understood that 'in lineabifurcata' is part of a geometrical and measurable instruction.
'and opposite the second window(of the lady chapel) on the south side thare are in the cemetary two stone crosses hallowed, where the bones of King Arthur were buried, where 'in line bifurcata' lies Joseph of Arimathea'.
The only problem is that all previous investigators have assumed that Avalon is Glastonbury. However, it is still quite ridiculous to associate the abbey three quaters of a mile away from the church on Glastonbury Tor (the supposed Island of Avalon) and the assumption of correlation that Joseph is buried in the Abbey grounds. If Joseph were buried anywhere near Glastonbury, he is on the tor (which we have been led to believe is Avalon)....... but one cannot have him three quaters of a mile away near a church which may or may not have been built by him.
It would seem then, that the mention by Bale of these two topics (the book, then the observation about geometry) would indicate Bale saw either Grail table geometry or landscape geometry in the book he was referring to. It seems probable that at some stage this book, copy or fragment, existed at Glastonbury. The information about Montacute as a geometrical marker for the 'Joseph line' could only have reached Father Good by two sources; Henry of Blois as already discussed or out of this possible geometrical source that Bale refers to. It is however, strange that after the puzzle has been decoded and very accurate geometry is evidently displayed, how researchers can still hold Melkin's prophecy as a fictitious twelvth or thirteenth century invention.
‘Meridianus’, in Ainsworth, is described as ‘pertaining to noon or noontide’, referring to the Sun’s change in longitude at its daily zenith. Ainsworth also has another translation which gives ‘Southern Meridional’ which would only be an accurate description if viewed from the northern hemisphere, so it is technically not a definitive translation. This somewhat oblique definition would be derived from the declination of the sun to the horizon viewed and defined by observers north of the equator which (with tables) defines Latitude. However, it is from this translation that most commentators have derived ‘Southern angle’ from Melkin's text. It is also worth noting that ‘meridianum anglum’ could be translated as an ‘English Meridian’; surely a pun not unobserved by Melkin. It could be that Melkin is referring to the angle created at Burgh Island between the Lyonesse line and the Joseph line that runs from Burgh Island to Avebury as shown in figure 25 if the ‘Southern’ is part of his meaning. More likely he is referring to the angle at 13 degrees to the St. Michael Ley line.
‘Cratibus’ fits descriptive clues in the local vicinity of Burgh Island and so does ‘ora tor’. It is as if Melkin would have us blindfolded and pointed in the wrong direction and begs the question; just how difficult should a riddle be, to be solvable? However Melkin’s original text could have read ‘orari’ from Orarius –giving ‘sea shore’ and an addition of the letters ‘t’ and ‘o’ to the middle of the word by a Glastonbury scribe would have rendered the word ‘oratori’. This is a possibility having already seen the interpolations and fabrications that Glastonbury perpetrated, to locate Joseph's burial place within the Abbey grounds. The best solution would be that the Latin word ‘ora’ and ‘tor’ from ‘torus’ were split. ‘Ora’ translates as ‘the border or coast of a country; particularly the sea coast or maritime district’, while the Latin word ‘oralis’ translates as ‘mouth, entrance or mouth of the River’. The word ‘tor’ from the Latin ‘torus’ meaning ‘a knoll or high mound of earth’, or from Old English torr; a ‘tor’ being ‘a high rock, lofty hill or tower’, possibly from Celtic, or Old Welsh, meaning a hill or a craggy outcrop of rock on the summit of a hill. If Melkin set out to combine these words which gives the real sense of where Joseph's body lay i.e. ‘a Tor by the coast’; then the word string ‘oratorii cratibus preparatis’ has rendered the sense of a ‘hill at the mouth of the river’ or ‘Tor by the sea’ which has been pre-readied (this could either refer to the tomb which used to be the tin depository or the island within the ley line network. If Melkin’s intention was to give us the sense of a tower (dedicated to the Virgin Mary) by the sea, this would admit to a previous building (maybe part of a monastic building) before the other St. Michael chapel was constructed that existed prior to 1307. The previous building is alluded to in the Perleasvaus as where the latin book of the Grail became the source for the High History of the Grail. L'auteur du Haut Livre du Graal affirme même que son texte est copié d'un manuscrit latin qui a été trouvé en l’Isle d’Avalon en une sainte meson de religion qui siét au chief des Mares Aventurex, la oli rois Artuz e la roïne gisent.
'The author of the High Book of the Grail even claims that his text is copied from a Latin manuscript which was found in the Isle of Avalon in a house of holy religion which sits at the head of hazardous tides where King Arthur and Queen Guenievre lie'.
If we accept the holy house is a monastery which we will show existed in the last chapter and we take 'Mares' as meaning 'marée' which translates as tide or tidal waters then take 'Aventurex' as aventuré which in old French has the same meaning as hasardé, hasardeux, we surely are looking at Burgh Island surrounded by tidal waters as the Island of Avalon that used to have a monastery on it. The word 'Mares' could of course refer to the sea in old french as 'le Mar' equated with 'le Mer' and the sense could just be the Island in the adventurous seas.
However it was this association of spheres, chanting and perpetual choirs that initiated our geometric structure. The association of a geometric design, namely a sphere, coupled with religious hymns that would be sung in an oratory, has led many researchers to associate the Glastonbury choir with ‘Perpetual Choirs’ of the Triads. This all combining and adding credibility as to Joseph’s burial site being within the grounds of the Abbey and subsequently enforced by geometric information supplied on the bronze plaque……. The pupose of which was to trick the enquirer by the measurements displayed thereon...... into thinking it had some association with the bifurcated line of Melkin's prophecy. This plaque as we have covered was purportedly to save for posterity’s sake, directions to where the Choir of “Yeald Chirche” was once located, before it succumbed to fire. These directions were made to seem relevant to the shapes that were inscribed on the floor in lead that were now lost, that Malmesbury had indicated some mystery lay within the design. This again as we have seen, was a gambit by Monkish acolytes to establish a proximity to a holy relic that had never existed on the site, but we must not forget it was William of Malmesbury who first mentions the business of wattle but was this later interpolation? What is the relationship of this man’s ‘ut ferunt’ in reference to Joseph on the one hand, then Joseph’s wattled church being described by him on the other. The corruptions of association fostered by Glastonbury that we have seen so much of in the intervening years, between when Melkin wrote have been made to link up with the obvious associations made from Melkin’s prophecy regarding ‘cratibus’ and Joseph. ‘Oratori cratibus preparatis’ would seem to be best translated as ‘a tor on the coast with a prepared crater’.
Part of the ruins of Glastonbury Abbey
Now we know that Melkin’s puzzle works on many planes and if we use the word ‘potenter’ as meaning ‘effectually or Judiciously’ from the next line in conjunction with 'cratibus preparatis' and 'super potentem adorandam uirginem', we could contrive the meaning ‘The Tor by the sea with a pre-prepared crater over which effectually is the Adorable Virgin’. This again is tentative. There is a long standing tradition on the Island that a monastery once existed, so when Melkin wrote his riddle, did he know of a previous building dedicated to the Virgin Mary, situated over the subterranean vault before the dedication of a chapel to St. Michael after 1307 AD. Certainly parts of the Perlesvaus indicate this. One could even get the sense of ’a crate containing a preparation’ from ‘praeparatio’ and from ‘crateris’ a receptacle or trough with a preparation, referring to the embalming fluid contained within. This will become clear when we investigate the cedar embalming fluid surrounding Jesus’ body .There is however on another level, a completely different meaning that can be extricated specifically relevant to the tunnels entrance. This seems to be the real clue to the tombs entrance with specific localised instructions assuming in Melkin's day there was a monastery on Burgh Island which becomes clear in a later chapter.
It seems reasonable to assume that the Templars who built the St. Michael church design, returned Melkin's updated account i.e the Book of the Grail to the sarcophagus; otherwise this book would have come to light.
Most commentators have assumed that the reference in the High history of the Grail to the book emanating from the Island of Avalon indicates the writer of the perlesvaus or the High History transcribed it from there. Henry of Blois who derives his knowledge from the French material founded on Melkin's Grail book was informed that the Grail material was from a religious house on an Island by Melkin, but he had no idea where Avalon was. It is the opinion of the author that Melkin’s Book of the Grail was deposited in the sepulchre when the Turin Shroud was removed and shortly thereafter made public. The treasure and the Ark were also deposited at the same time which we will cover shortly.
However, now we get precise instructions as to the entrance of the old tin vault if we take the meaning of ‘cratibus praeparatis’ having a dual meaning in that it applies to the external crater dug by the original operators of Ictis so that they could get their cart to the tunnel entrance leading to the storage vault: ‘cratibus praeparatis, super potentem adorandam virginem, supradictis’…… meaning 'in a prepared crater at reaching the verge toward where one prays up high in Ictis'.
'pleta' comes from 'pleo' which simply means 'I fill'. In the form 'pleta' it is acting as an adjective meaning 'filled'. This is obviously Melkin’s misdirectional intention.
Melkin here most probably wrote ‘Judiosalem’ which obviously is word play on Jerusalem as well as being a subliminal joining of Judah (Judeo) and Salem which has been changed to judicialem because of its connection with Judgement day. Exactly what Melkin intented is most likely to have been ‘Judeosalem’ ‘The day of Judah’s peace’ or ‘peace of the Jews’ referring to the spiritual peace of those coming out of spiritual Babylon which takes place on the day of Jehosaphat, as long as the thousand year period is understood as a day being the seventh day of the one week of Biblical time. Melkin is using the word ‘Salem’ from which Jerusalem is derived from Urušalimum , ‘Foundation of Shalem’; Salem coming from the word shalem, shalom, shalim or salam meaning peace; the city of Jerusalem which dates back to the early bronze age, where Abraham and Melchizedek met. ‘Judah’s peace’ is the goal of the Divine plan if one accepts that a ‘Jew’ is a spiritual Jew i.e. a person having come out of Egypt primarily and then subsequently returned from the Babylonian captivity, (Babylon the Great in the spiritual sense) and then found peace through adherence to the Law and acknowledgement of the existence of God. This view of the prophets being not only historical, seems newly contrived, but is the essential perception although not intellectually or theologically comprehended, that unites and is perceived by the Abrahamic faiths
Melkin specifically points to a period in time and this point in time is the uncovering of Jesus’ body. The reason for this is obvious in the proofs it will provide for the future, not only of the veracity of his prophecy but substantiating the words of the Prophets of Israel……… these confirmations and the realisation of a Divine plan will cause a paradigm shift in consciousness. Jesus and the Archangel Michael mentioned in Revelation and Daniel seem to be both part of the raising of Human consciousness and are accounted as witnesses to the Divine Plan.
Figure 32 Showing the Buccleuch version of The Madonna of the Yarnwinder. The baby Jesus is pointing to Avalon and Leonardo is subliminally indicating that the Island is in a bay but more importantly Leonardo has portrayed it with the same profile.
There is no doubt that his depicted tangible geographical features are found at or near Burgh Island, at Thurlestone rock and the outcrop of rock on the point of Bantham beach. On one level they are masquerading as vaginal penetration. On the other they are depicting the surrounding features of a specific locality. It would be quite ridiculous that the Confraternity would accept a painting where the Virgin Mary was depicted as flat-chested and sitting in a dank cavern, surrounded by phallic rocks and womb images with a twenty year old face on the baby St. John when all of Leonardo’s other children are positively cherubic. The Confraternity of the Immaculate Conception upon hearing of this other version of their own commissioned masterpiece after Leonardo’s death, would have made efforts to purchase the London version sold onto Gavin Hamilton. This would have muted any denigration of their own original and was probably sold cheaply to them by Melzi or his son.
or stone. The verse in Mark 6:3, "Is not this the carpenter, the son of Mary and brother of James and Joseph and Judas and Simon" is actually written in Hebrew: בן החרש הלא אמו שמה מרים ואחיו יעקב ויוסי ושמעון ויהודה
The Hebrew word ‘בן החרש’ actually meaning "son of the craftsman" so Mark 6:3 should be rendered in English as "Is it not him, son of the craftsman?. Is not his mother's name Mary and his brother's Jacob, Yosef, Simon and Yehuda?". Now here we have Gospel writers and later Roman apologists trying desperately to square a father called Joseph with a Virgin birth to concur with the prophets that would validate Jesus’ Messiahship. Is it mere coincidence that Joseph the elusive father has the same name as Joseph of Arimathea. If Joseph of Arimathea was in fact the metal craftsman who had returned to Jerusalem with his son who had brought along his girlfriend and who was shortly to be married, many of the loud silences and discrepancies, concerning the Holy Familiy’s marital circumstances starts to make sense especially Jesus’s brother being called Joseph, the Josaphes of Grail legend fame.
Showing the tidal waters at the heads where the river Avaon exits just beneath Folly hill and one can see the Vertical columb on the headland that features in the photo looking through Thurlestone rock
These picture puzzles, largely misunderstood, could outwardly mean whatever anyone saw in them, but it seems Leonardo was intentionally communicating to posterity, thus his reference, “I will show a facet of it”. A man's character is often discovered by looking into his face and the visage often portrays that which one would like to remain undisclosed. Leonardo was hinting by reference to a face or facet that he intended to show through the Yarnwinder paintings, his subliminal message. Like a pun, Leonardo’s picture puzzles relied upon the choice of words that have more than one meaning.
The Buccleuch version depicts Burgh Island as if in a compressed Bigbury Bay, with obvious artistic licence and change in depth perspective. However the Landsdowne version’s portrayal is painted from a perspective from the top of the local village church tower in Aveton Gifford and gives a background Serpentine river running out to sea. Although this is a strange background for Leonardo, it is no coincidence that the river is depicted flowing toward the ‘mountains of God’, considering Leonardo and Melzi knew who lay in the Island at the head of the river. The bridge, which was built at the top of the tidal and navigable extent of that river where the village is situated, may have been visible from the church tower, which was about a third higher then, than it is now. It is now shorter, after it was bombed in the Second World War.
In the Royal collection at Windsor there is a brilliant red chalk drawing of the Madonna's head, portrayed in the Yarnwinder pictures. This was part of the study of the original of these two paintings probably executed many years before. It is one of the most comprehensive examples of a previous study, except more famously his study of horses for the ‘Battle of Anghiari’ composition. Apart from the Virgin and Child, which is central to both Yarnwinder pictures, the backgrounds in both vary drastically. But is it merely coincidence that the Virgin's hand in all four paintings is arrestingly held back as if waiting for the right time. The Landsdowne version is very brilliant blue in colour with what seems to be a winding river of life leading to the ‘mountains of God’, while the Buccleuch version is dark in the foreground with the green Island of Avalon situated just off the tidal causeway described originally by Pytheas. In fact it is strange given these four paintings connections because it is as if they were paired up. The Lansdowne blue Yarnwinder and the blue London version of the Virgin and the rocks, while the other pair are green.
All this business with the angles is probably just co-incidence but the reccurence of similarities to our investigation so far involving this Island seem to keep popping up.
The Yarnwinder was originally positioned with the upper spindle turned more toward the viewer while the lower strut was once much further up the winder. Did Leonardo toy with the idea of revealing the ‘Joseph line’ which would have been a greater angle from the Lyonesse line?
There has been considerable speculation as to how Leonardo’s notebook material arrived in Britain. How, did ‘providence’ or ‘Fortune’ ensure that a huge guilt lettered book (bound and covered in Milan in the sixteen hundreds), would end up in the same country in which Leonardo, by his thumbnail sketches, indicated that he would show the whereabouts, through his Yarnwinder paintings, the location of the most important holy relic in Europe.
The Island of Sarras may, alternatively have been named and noted by Melkin because of its connection with Zara or Zerah in his Latin book of the Grail which turned up in France. However the Grail writer Robert de Boron thought that the Island of Sarras is in Egypt. This would appear to have come about by the common misconception of association with Saracens being synomymous with Arabs in the east. The Saracens were the ancient Jews of Cornwall. Robert de Boron, however, says the final destination of the Grail is 'En la terre vers Occident , Ki est sauvage durement , En vaus d'Avaron' – ‘in the land to the West, which is extremely wild, in the Vales of Avaron’. There is only one place in the West which is full of vales and that is Devon thus named because of the vales. Where wilder than Dartmoor from which the ‘Avon’ river leads downstream to the Isle of Avalon or ‘Avaron’ where there actually was a religious house known as ‘St Michael by the Sea’. Burgh Island to this day is still rumoured (long before the St. Michael Chapel was built) to have had a monastery at one time on it.
Robert, however does not say that Joseph is to be found in the same place as the Grail. In the Perlesvaus, also known as Li Hauz Livres du Graal or The High History of the Holy Grail (possibly re-mastered by Henry of Blois, Master Blehis), are the echoes of the original script of the book of the Grail written by Melkin. Perlesvaus seems to be a continuation of Chrétien de Troyes unfinished ‘Story of the Grail’ or ‘Perceval’ which co-incidentally is literally translated as ‘through the vales’. As we shall get to in the last chapter ……… whether or not Melkin left a Latin original in Britain and wrote the book of the Grail in France is full of contention especially regarding the witness of Helinand. Especially when we hear regarding the perlesvaus:
We do have a line of Kings of the most important biblical heritage who have a name that a French translator or early troubadour would pronounce as ‘sarra’ and later be written as Sarras. However, the mention of Egypt (or the coming out of it) is purely (as we shall see), one of the degrees to spiritual enlightenment foretold by the Biblical prophets along with ‘spiritual Babylon’, where coincidentally Tholomer came from. The complete mix-up of information by the Grail writers is astounding when Melkin relating in spiritual terms about Tholomer, (who is synonymous with Ptolemy king of the Egyptians), then becomes King of Babylon. But as we shall cover in detail later both the ‘coming out of Eygypt’ and ‘returning from Babylon’ are spiritual stages to pass through as Grades to enlightenment. The reference to these spiritual stages in a man’s life (originally referred to in the Latin Grail book) have entered the story as extraneous detail taken out of context from the original Grail book.
However this unravels the appearance of an Island from French sources, having the name Zara (translating as Sarras), which coincidentally just happens to be where the Grail is, just the same as it is said to be in the Island of Avalon with Joseph. So this Island mentioned by Robert de Boron as having Joseph's family bringing the Grail to it, the ‘vaus d'Avaron’, the valleys of Avaron in the west (Devon being the county of Vales), may have been named as ‘Avalon’ also in the first translation from Melkin’s Grail book as well as the island belonging to Evalak king of the Saracens.
The concentration on certain details by the early Grail writers was purely an individual choice. Some writers, as in the ‘Alliterative poem’ we are looking at, concentrated on his personal interest of the story concerning Joseph so he leaves out the Arthur material (also in the grail book) covering a later historical period. Others intermingled source material without regard to chronology just to weave the tale while others might choose to pick just one word, as we have seen with Camelot and embellish that word until its origins were unrecognisable.
The Grail writers did not understand that Melkin had used biblical metaphorical language as part of the Grail material which in essnce recounts the spiritual stages of man. This can be readily confirmed by reading the biblical Prophets where one can transliterate from an historical into an individual context. Without this understanding of the prophets, for the most part if read as purely historical (without transliteration into the spiritual meaning) they are fairly unintelligible appearing as random sections. This is the reason we have the inclusion of the kings of Egypt and Babylon in the Grail stories. After all the Grail writer is giving an account of Joseph’s arrival in Britain so what at all has this to do with Babylon or even Egypt as he sailed to Marseille as a first port of call. This reference to Egypt and Babylon can only be understood as a reference to the spiritual grades as set out as passages of rite to be passed through, and this can only be grasped by a good understanding of the body of material known as the Prophets. Unfortunately, biblical commentaries are still trying to rationalise this body of material from a purely historical perspective. So the mention of Eygypt and Babylon confirms their inclusion purely as stages applicable to the heightening of man’s Consciousness. This was before the Grail writers created a complete ‘salad’ of what was a coherent account that could have been substantiated by an understanding of the Biblical Prophets.
Figure 48a Showing the photographed image of Jesus on the Turin Shroud, which also highlights the burn marks.
On Christmas day, on Christmas day;
I saw three ships come sailing in
On Christmas day in the morning.
On Christmas day, on Christmas day?
And what was in those ships all three,
On Christmas day in the morning?
On Christmas day, on Christmas day?
Pray whither sailed those ships all three,
On Christmas day in the morning?
On Christmas day, on Christmas day,
O they sailed into Bethlehem,
On Christmas day in the morning.
It was certainly not beyond the Templars’ ability to make such a trip, and probably a prior trip in recent memory, noted in Templar records had been successful in completing the north Atlantic route, which is aided by prevailing and following winds throughout the circuit. Any returning vessel from North America could sail with ease to the western approaches on the prevailing westerlies and onward up the English channel, the coast of France or the entrance to the Mediterranean, no matter what the sail plan or hull shape.
A CIP catalogue record for this book is available from the British Library