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Niven,
I realize that you can't use my ideas in backing up
the authenticity of the Westford engraving but you may be interested in a bit of
the geometry apparent in it. There is a great deal of it but I will only
mention the sword and then only a few notes. My idea is that the symbolism in
the whole Knight schematic is highly specific to the Templars of the period. The
academics would obviously trash the idea as not proof of anything so this is
just a "by-the-way" metaphysical kind of observation.
I recently reviewed and analyzed the illustration
of the Templar Grail/Sword stone shown on page 298 of Gardner's BLOODLINE OF THE
HOLY GRAIL. Its primary geometric theme is the Great Pyramid (GP) geometry where
in its case the whole design is involved. It was easy to find because I'd
already found the GP in the Westford sword ...knew what to look for... but the
Westford sword has only part of the device involved. I agree with the quote
below, that the "...sword carving is one of the most important things... etc."
This is the quote:
Professor Lethbridge (Cambridge University, England) the author of "The Painted Man" and Keeper of the Anglo-Saxon Antiquities in the University Museum of Archaeology and Ethnology, wrote in regard to the Westford Knight: "This sword carved on a rock face can hardly be anything but a medieval sword. The whole hilt looks about A.D. 1200-1300. The significance of this is considerable. I do not see how this particular form of sword could be anything but European and pre-Columbian. It might even be earlier than I have suggested although that is very unlikely. "I think the sword carving is one of the most important things ever to have been discovered in America". My premise is that the carving is a schematic,
among other things, for a large earth grid but I will only make one reference to
this grid idea relating to the GP connection. To understand the full import
of the sword as a Templar energetic system one must look at, and understand,
Heb. 4:11-13 (comments on request by direct communication).
"Control" of the sword (as a system)
is through the hilt and that is where we find the GP geometry in both the
Westford and Page 298 swords. Note that the break in the sword appears to use
the GP angle of 51 degrees. If we use the sword's main (energy) axis as our base
line we first note the very important situation where the break is at the golden
ratio point between the tip and base of the pommel. In symbolic terms to "heal
the break" or restore the sword we would use the golden ratio format in some
manner. Given 3 hours I could explain how the GP does this and also be able to
connect it with the geometry involving Edinburgh and Rosslyn. I'll simply say
that the GP organization solves the golden ratio input.
The short version is this: extend the break-line to
where it intersects a mid axis line projected to the left from the quillon
(hilt's cross piece). This is the altitude of the GP (horizontal on your page).
The other slope of the GP drops down (upper right on the page) to the point at
the base of the pommel. This same format, without the break, is found in the
Page 298 sword with a few modifications but the same idea. The GP format is only
one subsystem of half a dozen but it is the easiest to find and it is central to
the golden ratio system.
I had decoded the Westford Knights' grid symbols
and located the schematic on the Land but a mystery still remained wherein
there is a 2 degree offset line from the quillon point at the hilt to the
outer extremity of the double-wheel pommel. This slightly "cants" the hilt
off the main axis. A friend pointed out a very important correlation: that at
the line's upper extremity there are 3 Virginia sized mountains in a GP triangle
duplicating the same thing in the sword. The man who had previously found this
site and recognized it as a sacred place calls it "Trinity Point"
near Churchville (a good name, eh?). In the much larger grid system this
point appears to transition the whole sword's action into the Land: a double
"fruit" (pomme-El or "fruit of God").
There are many coded subsystems in the carefully
crafted schematic connected with this central geometric GP format found in
the sword. (I will discuss these on request but on a personal basis.) My
theories do not refute any others but in my opinion they add to them. I know
that this geometric system, a very complex one, was known to the Sinclair
Templars and was not known in more recent times, even to the Masons who
had some of it as late as the 18th century CE. Regarding earlier usage, we
know that St. Columba understood and used the system in Scotland as of the time
of writing the Lindisfarne Gospels, about 640 CE. The Sinclair Templars built
over his grid in the Edinburgh part of it.
What's all this in aid of? There are large
implications in being able to "Heal the Break" and restore the Sword's energetic
system however my intention here is not to go into all that. I am only
trying to suggest, and illustrate, that there is a very subtle spiritual science
found in the Knight's geometric carving. We can be assured that the symbolic
codes and subtle geometry, known in the 15th century CE and most likely a secret
at that time had been lost until they recently resurfaced. Discussion with two
former Masons indicates that the inner subtle formats and grid knowledge have
been lost to them also. I very much doubt that the Knight could have been carved
much later than Henry's era.
Blessings,
Bill Buehler
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