16. Otto Rahn, Luzifers Hofgesind: Eine Reize zu den guten Geistern Europas, 1937, tranlated into the French as La Cour de Lucifer: Voyage au coeur de la plus haute spiritualite europeene, Paris, 1994. I am greatly indebted to Clive Prince for his hard work in translating key passages from the French for me.
17. For an in-depth examination of the history and beliefs of the Templars, see Picknett and Prince.
18. Of course as a Nazi, Rahn would have infinitely preferred a great religion to have Nordic or Germanic rather than Middle Eastern (Semitic) roots.
19. Rahn, p. 15 of the Introduction to the French edition by Arnaud d'Apremont, translated by Clive Prince.
20. Ibid.
21. Ibid.
22. For those who appreciate what may well simply be a coincidence - or perhaps a Cosmic Joke - `Anfortas' is an exact anagram of `For Satan'. Of course it would be considerably more impressive if in French.
23. Rahn, p. 18.
24. Ibid., p. 21.
25. Ibid., p. 22.
26. Ibid., p. 91.
27. For details, see Andrew Collins' haunting and important book 21st-Century Grail, London, 2004.
28. For the classic exposition of the theory that `sangreal' actually means `holy blood' see Michael Baigent, Richard Leigh and Henry Lincoln, The Holy Blood and the Holy Grail, London, 1982. For the fictional version par excellence, there is, of course Dan Brown, The Da Vinci Code, New York, 2003.
29. Wolfram von Eschenbach, Parzival, London, 1980, pp. 232-3.
30. The Mabinogion, trans. Gwyn Jones and Thomas Jones, London, 1949, p. 192.
31. Ibid., p. 218.
32. Tobias Churton, The Golden Builders, Litchfield, 2002. See also Picknett, Appendix.
33. Wolfram, p. 240.
34. Ibid., p. 396.
35. Andrew Collins, 21st-Century Grail, London, 2004.
36. Father Philippe Devoucoux du Buysson, in Dieu est amour, no. 115 (May 1989), quoted in Picknett and Prince, p. 123.
37. Colin Wilson, The Occult, London, 1973, p. 272.
38. Michael Baigent and Richard Leigh, The Inquisition, London, 2000, p. xv.
39. Marie-Humbert Vicaire, Saint Dominic and His Times, trans. Kathleen Pond, London, 1964, p. 146. Quoted in Baigent and Leigh, p. 17.
40. Walter L. Wakefield, Heresy, Crusade and Inquisition in Southern France 1100-1250, London, 1974, p. 208.
41. Ibid., p. 212.
42. Baigent and Leigh, p. 19.
43. Wakefield, p. 216.
44. Baigent and Leigh, p. 25.
45. Wakefield, p. 224, quoted in Baigent and Leigh, p. 26.
46. Stoyanov, p. 178.
47. Baigent and Leigh, p. 28.
48. See Lynn Picknett, Clive Prince and Stephen Prior, Friendly Fire: The Secret War Between the Allies, Edinburgh, 2004, pp. 54-5, 56-61.
49. Summers, p. 20.
50. H.T.F. Rhodes, `Black Mass', Man, Myth and Magic, London, 1971, No. 10, pp. 274-8, quoted in Lynn Picknett and Clive Prince, The Templar Revelation: Secret Guardians of the True Identity of Christ, London, 1997, p. 86.
51. Barbara Walker, The Woman's Encyclopedia of Myths and Secrets, New York, 1983, p. 1079.
52. Ronald Pearsall, The Worm in the Bud, New York, 1969, p. 209, quoted in Walker, p. 643.
53. Vern L. Bulloch, The Subordinate Sex, Chicago, 1973, p. 176, quoted in ibid.
54. Revelation 22:2.
55. Joseph Campbell, The Mask of God: Creative Mythology, New York, 1970, p. 159.
56. Walker, p. 640.
57. Charlene Spretnak (ed.), The Politics of Women's Spirituality, New York, 1982, p. 269, quoted in ibid., p. 644.
58. Walker, p. 644.
59. Mary Daly, Beyond God the Father, Boston, 1973, p. 69.
60. Although a precise number can never be known, the total number of `witches', both male and female, who suffered and died at the hands of the Church has been drastically downgraded from estimates as high as 5 million to around 100,000. Yet given the relatively scanty population of Europe during that time, and the fact that whole villages were decimated and never recovered, it is still a large number. And it need hardly be said, even the revised figure is 100,000 too many.
61. Walker, p. 1079.
62. Barbara Rosen, Witchcraft, New York, 1972, pp. 296-7.
63. Walker, p. 170.
64. Antoinette Bourgignon, La Vie exterieure, Amsterdam, 1683, quoted in Summers, p. 71.
65. My notes at this point read incredulously: `Is he mad?' After a while, I gave up making similar comments. It would have taken up far too much time.
66. Summers, p. 71, references Delrio. Disquistiones magicae, 1. V. sect. 4. T. 2. `Non eadem est forma signi, aliquando est simile leporis uestigio, aliquando bufonis pedi, aliquando araneae, uel catello, uel gliri.'
67. Summers, p. 45.
68. Ibid., p. 226.
69. The most wonderfull ... storie of a ... Witch named Alse Gooderidge, London, 1597, quoted in Summers, pp. 75-6.
70. Rossell Hope Robbins, Encyclopedia of Witchcraft and Demonology, New York, 1959, p. 42.
71. Ribet, La mystique divine, 111. 2. Les Parodies diaboliques: `Le burlesque s'y mele a l'horrible, et les puerilites aux abominations.' Quoted in Summers, p. 110.
72. Summers, p. 111.
73. Ibid., p. 121.
74. Robbins, pp. 500 and 540.
75. Peter Haining, Witchcraft and Black Magic, London, 1971, p. 103.
76. Sir Walter Scott, Letters on Demonology and Witchcraft, London, 1884, pp. 166-8.
77. Apparently there are problems with his translation, although another one is in the pipeline.
78. Heinrich Kramer and Jakob Sprenger, Malleus Maleficarum (Hammer of the Witches), 1485.
79. Robbins, pp. 303-4.
80. Ibid.
81. Ibid., pp. 18 and 508.
82. G.G. Coulton, Inquisition and Liberty, Boston, 1959, pp. 154-5, quoted in Walker, p. 1006.
83. C. L'Estrange Ewen, Witchcraft and Demonianism, London, 1933, pp. 122-3.
84. Robbins, p. 501.
85. Ibid.
86. Walker, p. 1005, referencing Jean Plaidy, The Spanish Inquisition, New York, 1967,p. 157.
87. Robbins,p.509.
88. See, for example, www.nd.edu/-dharley/witchcraft/Malleus.html.
89. Ibid.
90. Henry Charles Lea, The Inquisition of the Middle Ages, New York, 1954, unabridged version, 1961, pp. 815 and 831, quoted in Walker, p. 1080.
91. Terry Davidson, Conjugal Crime, New York, 1978, p. 99.
92. Amaury de Riencourt, Sex and Power in History, New York, 1974, p. 219.
93. Walker, p. 593.
94. Kramer and Sprenger, Part 1, q. xi: Nemofidei catholicae amplius nocet quam obstetrices.
95. Robert Knox Dentan, The Semai: A Nonviolent People of Malaya, New York, 1968, pp.96-8.
96. Bulloch, p. 177.
97. Wolfgang Lederer, The Fear of Women, New York, 1968, p. 150.
98. Ibid.
99. Walker, p.656.
100. Ibid.
101. Andrew D. White, A History of the Warfare of Science with Theology in Christendom, 2 vols., New York, 1955, vol 1, p. 319.
102. Walker, p. 656, quoting George B. Vetter, Magic and Religion, New York, 1973,p.355.
103. Ibid.
104. Ibid., p. 1008.
105. Robbins, p.108.
106. Summers, p. 63.
107. Ibid., p. 256.
108. For a particularly thought-provoking analysis of the Helen Duncan affair, see Manfed Cassirer's Medium on Trial: The Story of Helen Duncan and the Witchcraft Act, Stanstead, 1996.
Chapter Five Pacts, Possession and Seance Rooms
1. According to Jeffrey Burton Russell in Lucifer: The Devil in the Middle Ages, New York, 1984, p. 80 (note): `Hincmar interjects the tale into his Divorce of Lothar and Teuberga, written about 860 (MPL 125, 716-25).'
2. Ibid.
3. Ibid., p. 81.
4. Ibid., p. 82. Russell adds in note 41:
`Since mouffle is colloquial French for "slob" an element of anti-Flemish prejudice seems present here.'
5. Jean Plaidy, The Spanish Inquisition, London, 1967, p. 171 ff.
6. Johannes Weir.
7. Goethe's Faust, Part One, 1808, translated by Philip Wayne, who also wrote the Introduction to the 1949 Penguin Edition, p. 15.
8. It is through its Italian form, nigromancia, that it came to be known as `the Black Art'.
9. www.satansheaven.com/necromancy.htm.
10. 1 Samuel 28.
11. Goethe, Faust, p. 40.
12. See in previous chapter.
13. Lewis Mumford, Interpretations and Forecasts, New York, 1973, p. 302.
14. The Devils, 1971, directed by Ken Russell, starring Vanessa Redgrave and Oliver Reed.
15. T. K. Oesterreich, Possession, Demoniacal and Other, New York, 1966, pp. 49-50.
16. Grillot de Givry, Witchcraft, Magic and Alchemy, New York, 1971, pp. 118-19.
17. Montague Summers, The History of Witchcraft, London, 1925, p. 73.
18. Ibid.
19. Rossell Hope Robbins, Encyclopedia of Witchcraft and Demonology, New York, 1959, p. 316, quoted in Barbara Walker, The Woman's Encyclopedia of Myths and Secrets, New York, 1983, p. 811.
20. Summers, p. 73.
21. Colin Wilson, The Occult, London, 1973, p292.
22. `A Aix, par Jean Tholozan, MVCXI', quoted in Summers, p. 82.
23. Ibid.
24. Russell, p. 299.
25. See Houston Stewart Chamberlain, Immanuel Kant, Berlin, 1914.
26. Published in paperback in 2000, subtitled: `How Leonardo Da Vinci Fooled History'.
27. Thomas Humber, The Sacred Shroud, New York, 1978, p. 120.
28. It is know that he had a mysterious room in the Vatican, in which he built a `machine made of mirrors'. No one would have been any wiser but for the German mirror-makers he employed on the project - they were foreign because they wouldn't understand much of what was going on - who, convinced he was practising sorcery, locked him in the room and ran away. Such was Leonardo's controlled physical strength that he merely lifted the heavy door off its hinges and strolled away. But what was the `machine made of mirrors'? In the experiments conducted into Leonardo's possible modus operandi by Clive Prince and his brother Keith in the early 1990s, it soon became obvious that any device that concentrated heat and light would be very useful in producing an image using a very simple pinhole camera - a camera obscura, one of which we know from his notebooks that Leonardo built.
29. Codex Atlanticus.
30. See Josef Maria Eder's 1945 History of Photogaphy.
31. Tobias Churton, The Golden Builders - Alchemists, Rosicrucians and the first Free Masons, Lichfield, 2002, pp. 34-5. I am indebted to Clive Prince for finding this for me.
32. Ibid. and ditto.
33. BSTS Newsletter 42 (January 1996), pp. 6-8, reproduced from Avenire, 7 October 1995.
34. Picknett and Prince, pp. 187-90.
35. Maurice Rowden, Leonardo da Vinci, (London), p. 1975, p. 117.
36. Picknett and Prince, p. 167.
37. Frances Yates, Giordano Bruno and the Hermetic Tradition, London, 1964, p. 435.
38. The history of the Rosicrucian Manifestos and the growth of the movement is told in Frances Yates' The Rosicrucian Enlightenment, London, 1972, which includes full translations of the original text. Another excellent book on this subject is Tobias Churton, The Golden Builders.
39. C. J. S. Thompson, The Lure and Romance of Alchemy, New York, 1990, Chapter XXII.
40. Dr Christopher McIntosh, Foreword to Churton, The Gnostic Philosophy, p. xii.
41. Ibid.
42. Clive Prince and I remain indebted to the insights of Abigail Nevill, who at the age of eleven, inspired us to really look at the Shroud image with a child's eye - and suddenly a great deal fell into place. See Picknett and Prince, pp. 136-7, 157, 235, 240, 242, 245, 252.
43. I am indebted to the research of Steve Wilson for this interesting fact.
44. Thanks to the computer wizardry of Andy Haveland-Robinson, who had no particular axe to grind and viewed our project with complete objectivity.
45. As Abigail Nevill asked when viewing the Shroud image in negative: `Why is his head too small? And why is it on wrong?'
46. The head at the back is thrown backwards, the hair falling away from the face. At the front the chin is level.
47. Actually the hair appears to have been lightly touched up or painted in using the light-sensitive chemicals that created the photograph. When Clive and Keith Prince discovered that the fish-eye effect renders the hair invisible, that's what they did.
48. Of course Leonardo had the strong sunlight of Italy if he cared to use it, although as this work was undoubtedly of the highest secrecy, he would have chosen to create the Shroud behind closed doors, probably in the Vatican (see note 28, above). We had no such possibilities, having only a garage in grey and unromantic Reading, Berkshire, for our experiments, and a strong UV light bulb or two.
49. See Picknett and Prince for instructions on how to recreate all the so-called `miraculous' characteristics of the Shroud using the simplest of methods. However, you do need an abundance of light - and time! We were the first researchers ever to publish details of our own Shroud recreation, although at roughly the same time Professor Nicholas Allen was completing his similar photographic work in South Africa.
50. For a time we were annoyed at the image of the lens appearing on our experimental `Shrouds' - until we checked with the image of the Turin Shroud and saw it in exactly the same spot! Then, of course, we were overjoyed.
51. Such as Maria Consolata Corti. See Picknett and Prince, pp. 161-3, 331.
52. In 1898 a lawyer from Turin, Secondo Pio, took the first photographs of the Shroud, which was being displayed as part of the celebrations to mark the fiftieth anniversary of the unification of Italy. Seeing the Shroud in negative was a true epiphany for Pio: previously a lukewarm Catholic, after seeing all the intricate detail of the horrific crucifixion leap into life, he abruptly became passionate about his religion. Unfortunately, like millions of others, he had been duped by possibly the world's greatest psychological conman. The Shroud of Turin is not testimony to the truth of the Christian faith, but quite the opposite.
53. Serge Bramly, Leonardo: The Artist and the Man, London, 1992, first published as Leonardo da Vinci, Paris, 1988, p. 445.
54. Although the image was clearly not created with paint, there is a small amount of pigment on the cloth, probably due to the custom of laying religious paintings on it to imbue them with extra holiness.
55. Giorgio Vasari, Lives of the Artists,1550. This is quoted at the beginning of Chapter Five of Picknett and Prince, `Faust's Italian Brother'.
56. See Picknett and Prince, The Templar Revelation, p. 198.
57. Paracelsus, De Natura Rerum, 1572, Book 3.
58. Ibid.
59. Gian Battista della Porta, Natural Magik, 1658, Second Book.
60. Ibid.
61. Paracelsus.
62. Andre Nataf, The Wordsworth Dictionary of the Occult, London, 1994, p. 161.
63. Ibid.
64. Lynn Thorndike, `A History of Magic and Experimental Science', New York, 1929, vol. VIII, p. 629, quoted in Clara Pinto-Correia's online essay `Homunculus: Historiographic Misunderstanding of Preformationist Terminology', www.zygote.swarthmore.edu/fert I b.html.
65. Ibid.
66. The robot was a result of Leonardo's studies in anatomy, which are described in the Codex Huygens.
67. See www.w3.impa.br/-jair/e65.html.
68. Ibid. This online article is sponsored by the Istituto e Museo di Storia delta Scienza, Florence, and The Science Museum, London.
69. Dee himself had what is believed to be the perfect astrological chart for an occultist, being born with the Sun in Cancer and his ascendant in Sagittarius.
70. Montague Summers indefensibly describes `the work of rehabilitation so n
obly initiated by Queen Mary'. Summers, p. 22.
71. Nevertheless, Dee persuaded Queen Mary to establish a national library, bestowing on it 4000 of his own books. It would ultimately become the British Museum.
72. William Shakespeare, The Tempest, Act V, Scene 1, c.1608.
73. Elizabethan spelling was notoriously inconsistent, even for personal names.
74. See www.johndee.org/charlotte/Chapter6/6pl.html. This is extracted from a page from The Alchemy Website, www.levity.com/alchemy/kellystn.html.
75. This appeared in three parts from 1663 to 1678.
76. Their magic mirror can now be seen in the British Museum.
77. From the Fama Frateritatis, quoted in Churton, The Golden Builders, p. 99.
78. Ed. Meric Casaubon, A True & Faithful Relation of what passed for many years between Dr John Dee and some Spirits, London, 1657, quoted in ibid. Churton notes: `Casaubon took his material from Dee's diaries, chiefly from those of 1583-4'.
79. Churton, p. 100.
80. The important and stunning 1997 film, Photographing Fairies, starring Toby Stephens, Emily Woof and Frances Barber, and directed by Nick Willing, makes this point quite clear. The main character even fails to defend himself against an unwarranted charge of murder because fairyland calls so strongly to him. `Death is merely a change of state. The soul is a fresh expression of the self. The dead are not dust. They really are only a footfall away.'
81. Godfather of British esotericism, John Michell, believes that the gods are reluctant to give occult researchers money because it would make them 'slack'!
82. The Stone of the Philosophers, ascribed to Edward Kelley, which was included in the booklet Tractatus duo egregii, de Lapide Philosophorum, una cunt Theatro astonomniae terrestri, cum Figuris, in gratiam ftliorum Hermetis nunc primum in lucem editi, curante J. L. M. C. IJohanne Lange Medicin Candidato], Hamburg, 1676, translated by L. Roberts.
83. Some say 1595 or 1597.
84. Shakespeare, Epilogue.
85. I myself grew up in a seriously haunted house in the back streets of York. I was about sixteen before I realized that not everyone has a poltergeist! Since those far-off times I have researched and studied the paranormal and have concluded that although many people report ghosts etc out of a desire to cause a stir, or perhaps even to get rehoused by the local council, most have seen something or someone from another dimension. An underlying belief in the reality of intrusion from elsewhere underpins my The Mammoth Book of UFOs (2001), while the strange crossover between a belief in the paranormal and the intelligence agencies is the main theme of my book, co-authored with Clive Prince, The Stargate Conspiracy: Revealing the truth behind extraterrestrial contact, military intelligence and the mysteries of ancient Egypt (1999).
The Secret History of Lucifer: And the Meaning of the True Da Vinci Code Page 32
