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Callum Jensen is continuing his work of uncovering the significance of Lincoln Cathedral’s architecture which he began in his booklet “The Lincoln Da Vinci Code”.
He has kindly sent pQ.com an exclusive glimpse of his current findings.
Below is the image of the sacred geometry that Callum has discovered along with some clues as to how this maps to the physical structure of the cathedral. Why not check it out for yourself and see what clues you can find…
Callum explains: “As it is impossible at this stage to comment on all of the astounding implications that has been so meticulous laid out at this stage,
here are but a few interesting features of this sacred geometry in relationship to the mystery of Rennes-le-Chateau and the Lincoln Da Vinci Code.The vertical line that cuts through the centre of the large red circle terminates at the point where the tomb of the unnamed woman – the decoy in the treasure hunt – was rediscovered in 2005.
The top apex within the right blue circle arrives at the sculture of The Angel of Expulsion,North East side Angel Choir, which holds the blade – the blade of the blade and chalice that guards over the secret Grail location
The mauve circle below it encompasses the Choir Stalls that hides the ‘Falling Knight’ of the RLC Parchment ‘by the cross and this horse of God’
The two green circles touch on the horizontal line at ‘The Crossing’ which is meant by the angels above the demon within the RLC church, crossing themselves (other points cross and converge here).
The left giant red circle lands on the horizontal line at the Cathedral Lectern.
The blue circle on the left encompasses the section of the Cathedral ‘blue apples orchard’ – relating to the RLC ‘blue apples’.
The mauve circle on the left hits on 4 column pillars at The Nave (Latin ‘Navis’ – a ship) reminding us that its Templar builders are known as Nautilliers.
The SE corner of the Cathedral – crucial to the LDVC – deliberately falls outside of the geometry, deliberately overlooked and neglected, to confirm it is ‘the stone the builders rejected that has become the chief cornerstone’ and the Rock of Sion…the Judgement Porch left noticably exposed at the termination of the geometry.”
Excellent work, Callum, and please keep us posted of developments.
I’ve seen loads of these sacred geometry overlays on medieval ecclesiastical floorplans, but they never seem to match up! Am I missing something?
Hi Perceval, I think that some geometry was indisputably introduced to church architecture. For example, here’s a nice summary from the BBC’s website:
“Medieval master masons used simple proportional systems, such as ad quadratum (by the square), the Golden Section (b/a = c/b) and ad triangulum (by the triangle) to design their buildings. The most common, ad quadratum, is based on the ratio of the side of any square to it diagonal (1: v2). A rectangle (A4 paper is an example) with these two lengths as its sides has a pleasing shape. A mason could derive a whole building simply by making a series of larger and smaller squares and rectangles based on a single base unit and be sure that every section would connect harmoniously.”
How far the masons would have taken this is another question entirely. And as to whether Callum’s overlay corresponds to the physical reality…I guess you’ll just have to visit Lincoln cathedral to find out
Cheers,
Simon
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