Mel Gibson's movie
The Passion of the Christ
was inspired in part by the 1823 vision of
Sister Anne Catherine Emmerich
divined from the Holy Grail Mandala.
Copyright © Lee Perry 2005
All Rights Reserved.
SECTION ONE Some Christians have waked up to the fact that The Dolorous Passion Of Our Lord Jesus Christ, an 1823 vision of the German nun Anne
Catherine Emmerich, was an inspirational source for Mel Gibson's sadistic, gory, and anti-Semitic movie The Passion of the Christ. Too many Christians do not read their Bibles. They carry
their Bibles, refer to their Bibles in chapter and verse, and use their Bibles for prophecy. But rarely, if ever, do they read their Bibles in context, and with an understanding of what the biblical authors
intended. Instead, they rely upon what they are told by their clergy, upon what they see and hear in movies and on television, and upon what they read in pulp fiction such as Dan Brown's The Da Vinci Code. In that respect, Christianity arguably has come full circle since the days after the German Gutenberg Bible, when German heretics were accused by the Church of promulgating the worst heresy of all times. What was
that heresy? Those heretics wanted to provide everyone, free of charge, or at a minimal charge, with a printed Bible and sufficient literacy to read and to interpret their Bibles for themselves! Why did the
Church consider those heretics to be the worst heretics of all time? Because the movement they started ultimately deprived the Christian Clergy of the power to read and to interpret the only Bible owned by the local parish, a
hand-written Bible, which remained locked shut and chained to the chancel rail, where it was read and interpreted only by the parish priest. If everyone not only could read, but, as well could interpret his or her
Bible for himself or herself, just imagine what could happen to the wealthy and powerful Christianity of magnificent Gothic Cathedrals, which are adorned with gold-plated altars, and with colorful, stained-glass windows that teach
Biblical verses in picture-form. Could those cathedrals become museums of the Church's past glories?
SECTION TWO
Sister Anne Catherine Emmerich was of the old school. We are told that, "She had never read the Old or New
Testaments, and when she was tired of relating her visions, she would sometimes say: 'Read that in the Bible,' and then be astonished to learn that it was not there." (44).
Numerals in parentheses in this writing are references to pages of The Dolorous Passion of Our Lord Jesus Christ, Dover Publications, Inc., Mineola, New York, 2004, which probably is the most available
unabridged copy of The Dolorous Passion of Our Lord Jesus Christ from the twenty-fourth edition of The Meditations of Anne Catherine Emmerich, published in 1923 by Burns, Oates & Washbourne Ltd.,
London. In confirmation of what early was stated in this writing, about modern Christian pewsitters who know little or nothing of what actually is in their Bibles, many of the Christians who saw one or more versions of
Mel Gibson's movie The Passion of the Christ never noticed that the version(s) of the movie through which they had sat contained objects and events nowhere mentioned in their Bibles! But
Christians who are more knowledgeable about the contents of their Bibles might have objected to the movie on the ground that their Bibles nowhere contain a reference to a "crown of straw" upon the head of Jesus, (158,163), or
refer to Jesus disparagingly as "thou King of Straw," (159), or suggest that the other two "lestes" allegedly crucified beside Jesus, "had straw caps upon their heads," (235), or describe Jesus' hair as "standing on end," (103), as
stated expressly in Sister Emmerich's vision. I do not know whether or not Mr. Gibson included those elements of Sister Emmerich's vision in his movie because I did not attend his movie, and have no intention of doing
so. I have seen too much blood and gore already during my 70 years on Planet Earth. The Koine Greek, or "marketplace Greek" word "lestes" does not mean "thieves." It means "troublemakers," which was a
euphemism for the political party of violence, the Zealots, with whom Jesus associated. Sorry, but "Zealotes" was not Simon's family name. The term means, "Simon the Zealot." And "Iscariot" was not Judas' family
name. It means "Judas the Dagger-man," and is a reference to the most violent faction of the Zealots. Try thinking of Judas not as a traitor to Jesus but as a man who did what had to be done in order for Jesus to die a
sacrificial death, according to the Christ Story. Please understand that the clergy learn Koine Greek in seminary or Bible college. Hence, they understand, but are loath to admit, that John 19:19 says not "Jesus of
Nazareth" but "Jesus the Nazoraean." Why the mistranslation? Because the Nazoraeans still are out and about. Ask one what he believes and he will tell you. If you can endure the knowledge. The
mistranslations above-mentioned are not accidental. They are intentional. There is a difference between Christian "truth" and God's truth. The former is whatever advances the Christian cause, according to Church
fathers. Moreover, many adherents of Christianity and Judaism were astonished by the blatantly anti-Semitic words used by some of Mel Gibson's actors, and by the antics of the devils and other satanic critters who
accompanied the actors portraying Jewish characters in the movie. That level of anti-Semitic expression simply does not exist in any modern English-language translation of any Canon of the Bible! And, contrary to what
moviegoers had seen and heard, Mel Gibson contended that he did not intend his movie to be anti-Semitic, although he was forced to admit that he did intend the movie to be faithful to some unnamed source materials. But
the declaration of innocence by Mel Gibson of what moviegoers had seen with their own eyes, and heard with their own ears, left Mr. Gibson faced with the question: "Upon what source materials, other than the Bible, did you rely,
Mel?" By the asking of that question, or similar questions, the average Christian pewsitters around the world learned that Mel Gibson's movie The Passion of the Christ had been based in part upon the 1823 vision
of Sister Emmerich known as The Dolorous Passion of Our Lord Jesus Christ. The transcript of the 1823 vision of Sister Emmerich brims over with the very anti-Semitic words and images which
moviegoers had seen and heard but which Mr. Gibson told everyone he did not intend! (81,87-88,99-101,107,111-112,144,156-157,175,192,204-205,225-226,229,251,266). We lawyers often state that a person's intentions better are defined
by his actions than by his words. Perhaps, Mr. Gibson finally defined his intentions by his "second cut" of his movie, in which he deleted many, if not all, of the anti-Semitic words and images. We
are assured in a Preface to the vision of Sister Emmerich that "the transcriber of her narratives treats as blasphemous the idea of regarding them in any degree as equivalent of a fifth Gospel." (5-6). The writer of
the Preface, himself a man of the cloth, tells us that, "The Church, according to the testimony of her most approved writers, recognizes three descriptions of ecstasy; of which the first is simply natural, and entirely brought
about by certain physical tendencies and a highly imaginative mind; the second divine or angelic, arising from intercourse held with the supernatural world; and the third produced by infernal agency." (6). Sister Emmerich's
vision obviously fits within the second category. The Preface-writer assures us that although "the language and expressions" which the transcriber of Sister Emmerich's vision used "may not always have been identical
with those which she employed," (8), the transcriber's narrative of Sister Emmerich's vision "has received the approval of ecclesiastical authorities." (9). We are reminded that we are reading a vision. We are
not reading "history," (11), which should raise in the minds of Christians a question of what they are reading when they read the New Testament.
SECTION THREE We are told that she experienced from an early age, visions of Jesus in the form of a shepherd, and of His Mother, as the Queen of Heaven. (15). She also had visions of saints. (15). We
are told that her visions "were so like realities." (16). We are told that "[w]hen there was anything to be seen or heard which had no reference to God or religion, she found some excuse for avoiding the spot to which
others were hastening, or, if there, closed her eyes and ears." (18). I am sure that the Church has encouraged its pewsitters to close their eyes and ears to everything I have said or written! At age twenty-four,
Anne Catherine was said to have experienced the actual and visible sufferings and pain of Jesus when He was crowned with thorns. (19-20). The transcriber of her visions assures us that "he himself has, in full daylight, several
times seen blood flow down the forehead and face, and even beyond the linen wrapped round the neck of Anne Catherine." (21). We are told that, although Ann Catherine was weak and delicate, she had a habit of practicing
many mortifications. (25). And that Jesus "imprinted upon her virginal body the stigmas" of His Cross and His Crucifixion. (28). We are told that Anne Catherine beseeched Jesus "to allow her to suffer" with Him, (29), and remained
"long without taking any other food than the Blessed Sacrament." (32). We are told that she had "visions of the Passion, during which blood flowed from all her wounds, causing her intense pain." (40). She is said to have suffered
in behalf of sick persons. (46). Why are we told about such experiences? So we will believe that her visions are those of a devout Roman Catholic instead of a closet heretic?
We read about the life of Anne Catherine Emmerich, of the Religious Order of Saint Augustine, who was a nun at the Convent of Agnetenberg, Dulmen,
Westphalia, Germany. (15).
SECTION FOUR (1) While reading the following text, the
reader may "click on" a Figure Number in square brackets, such as (2) The reader may read the following text
without "clicking" on either some, or any, of the Figure Numbers in square brackets, such as (3) Christian Fundamentalists should exercise the third option. Please shut off your computers and go read your Bibles. I do not want to read or hear your threats,
complaints, and insults. No one is making you read these materials, which were prepared for persons who agree with the American humorist Will Rogers, who once quipped, "The human mind is like a parachute: useless, unless
open." Sister Emmerich's vision included details about the supper-room where the Last Supper was celebrated by Jesus and His followers. (68-71). We are told that "several lamps hung from the platform," The transcriber of Sister Emmerich's vision says that "an aperture had been made in the roof, and covered over with
transparent blue gauze." (70). He continues that "[t]he back part of this room was separated from the rest by a curtain, also of blue transparent gauze,"which gave the room "a resemblance to the Temple." (70). The word
resemblance
is a "buzz word" which tells my readers that the story they are reading was divined from line-form optical illusions seen on the mandala (line pattern) known as the "Pargod," "Bar Goda," "Katapetasma," "Greille," "Heavenly Veil," or "Grail Mandala." Weston, Jessie L.
The Quest Of The Holy Grail, Dover Publications, Inc., Mineola, New York, 2001, at pages 149-151. My readers know that the plan, profile, and specifications for the Temple were divined from
the Grail Mandala. Perry, supra, at pages 71-78. My readers are familiar with a construct representing the Dome of Heaven, which has a hole in its center, representing the Precessional Circle of the
Pole Star, through which extends the Stauros or Axis Mundi, that is, the theoretical rotational pole of Planet Earth. My readers are familiar with lines of the Grail Mandala, which look like a "griddle," imposed upon that posited Dome of Heaven, which posited
Dome of Heaven has the appearance of blue-ice. Perry, infra. The Irish-Gaelic word "Greille," one of the words describing the Grail Mandala, has, inter alia, the meaning of a
pattern of lines as on a "griddle." Dinneen, Reverend Patrick S. Irish-English Dictionary, Irish Texts Society, Dublin, 1927, at pages 571, 568. My King James Bible
refers to the Bible's posited Dome of Heaven, saying that the Dome has the appearance of "the terrible crystal," Book of Ezekiel 1:22, but my New English Bible
properly uses the word "ice," instead of the nebulous words "terrible crystal." Book of Ezekiel, 1:22. A dome of blue-ice in the sky? Why not, as seen from the perspective of the ancients, who necessarily
noticed that the temperature cooled as one ascended any mountain! The word "appearance" is known to my readers as a "buzz word," alerting them to the fact that they are reading a tale composed of line-form optical
illusions divined from the Grail Mandala. Weston, supra, at pages 149-151. What, then, must we conclude about these words of the transcriber of Sister Emmerich's vision, previously quoted in this
text? "The back part of this room [the supper-room] was separated from the rest by a curtain, also of blue transparent gauze"? (70). We already have been told that the construct being described by Sister
Emmerich has "a resemblance to the Temple." (70). Thus, those of you who know your Old Testament know that Sister Emmerich's "curtain" of "blue transparent gauze" or "transparent blue gauze" is the "Veil," (275), or "Curtain,"
(276), of the Temple, (276-277), which Christians believe was "rent in two from the top to the bottom," (275), signifying, allegorically, that the old law of Temple sacrifice "was at an end, and that a new one had commenced,"
(277), that is, of the one-time sacrifice of Jesus the Christ on the Cross of Calvary. (277). In the ancient "Correspondence Theory," the Veil of the Temple corresponded on Earth with the Veil in Heaven, that is, the
Grail Mandala. Perry, supra, at page 110. In the Nicaean Lord's Prayer, the "Correspondence Theory" is stated in words familiar to exoteric Christians, as well as esoteric Christians, that is, "On
Earth as it is in Heaven." We next are told that "[t]he Ark of the Covenant was formerly deposited under the very spot where the hearth [of the supper-room] was afterwards built." (71). We are assured by Sister
Emmerich that "[p]revious to the building of the Temple, the Ark of the Covenant had been deposited there for a considerable length of time, and traces of its presence were still to be found in an underground room." (69). Traces of its presence found in an underground
room? Is Sister Emmerich seeing a pattern of lines and circles of a mandala which inspired both (1) the vision of the Ark of the Covenant and (2) the vision of the plan, profile, and contents, of the supper-room where the Last Supper was celebrated? Bells and whistles are sounding figuratively in the minds of those persons who have read my
opus entitled The Holy Grail, Cosmos of the Bible. Philosophical Library, New York, 1991. Moreover, the words "traces" and "underground" are buzz words that are familiar
to my readers, telling them that they are reading a visionary myth divined from optical illusions seen within the lines and circles of the Grail Mandala. We who know the Grail Mandala trace
its lines. And this knowledge about the Grail Mandala certainly has been underground
or esoteric knowledge, instead of exoteric knowledge, within Christianity. Knowledge only for the few. Not for the many. For everyone else, we must begin at the beginning. Christian
Fundamentalists, please stop right here. Go no further. The pain will be more than you can endure! I know. Once upon a time, I was a Southern Baptist.
There are different ways to read the materials which follow:
SECTION FIVE A mandala (line pattern) was known to the ancient Hebrews as the "Pargod" or "Bar Goda." The same mandala was known to the ancient Greeks as the
"Katapetasma." The same mandala was known to the Goidelic Celts, the ancestors of us modern Irish, as the "Greille." [That Irish-Gaelic word is pronounced somewhere between our Bearla (English-language) words "grill" and
"Grail."] And the same mandala was known to first-century Christians as the "Heavenly Veil." Research by my mentor and me indicated that all of the foregoing ancient people, as well as others, believed that the
Grail pattern appeared on a veil or curtain hung by the Creator between Heaven and Earth, upon which veil or curtain the Creator drew line-form optical illusions of objects which He would create during His continuing Creation on
Earth. The mandala had its origins in ancient mathematical science. Its rainbow-colored lines can be seen inside of a clear quartz crystal which is struck at the proper angle with sunlight. The pattern was projected by ancient mathematical archaeoastronomers onto the posited Dome of Heaven, where
its algebraic-geometry was used to calculate the periodicities of the various lights of Heaven, which led to the discovery of the 8-year Venus Cycle, which still is used to calibrate the best clocks ever made by humankind. Perry,
supra, pages 308-347. The pattern defines the four classical vaults, The pattern is a Stone-age drawing of our sun-centered
cosmos, including the green Earth fructified by the golden rays of the sun, from whence come the food and drink which sustain humankind. Perry, supra, pages 333-347. And the pattern became the source from
which were divined many of the visions of Judaism, Christianity, Islam, Buddhism, Hinduism, and of many of the shamanistic religions of Asia, Europe, and the Americas. Perry, supra, pages 11-285; Perry, Lee.
The Holy Grail: Source of the Ancient Science and Spirituality of the Circling Cosmos, Saoirse Cainte Press, Cumming, Georgia, 1993, pages 33-77. As to Judaism: The mandala inspired the
first-chapter and tenth-chapter visions of the Prophet Ezekiel, as well as the visions of the Tabernacle, Tent of the Presence, Ark of the Covenant, and Solomon's Temple. Perry, 1991, supra, pages 11-78. As to Christianity: The mandala inspired the birth, death, and Resurrection narratives of the Christ Story, as well as some, but not all, of the life narratives of the Christ Story. Perry, 1991, supra
pages 191-347. As to Islam: The mandala inspired the image of the Prophet Mohammed, seated upon a human-faced, winged horse, riding from the Dome of the Rock to Islamic Heaven, as well as many other Islamic
visions. See various academic papers on this website. As to the philosophy (not religion) of Buddhism: We see the line-form optical illusion of Buddha, himself, on the mandala, as well as dozens of other holy
images of that philosophy. Perry, 1991, supra, pages 98-109. As to Hinduism: We see Hindu avatars of the bull, harp, crab, balance scales, arrow, pitcher, and fish, as well as many more images of
that ancient religion. Perry, 1991, supra, pages 110-119. We see the Cosmos of the Warao American Indians of Venezuela. Perry, 1991, supra, page 327. How did the natives of the
Republic of Vanuatu acquire the Grail Mandala? They told anthropologists that they learned that the pattern represents the place at the Pole Star from whence all of us came at birth, and to which all of us return at death, through
the hole in the Dome of Heaven, from white men who sailed by night and fished by day. Unfortunately, the islanders have no modern sense of history or historical time-sequence. They cannot tell anyone when those white
sailors first came to their islands. Deacon, A. Bernard. "Geometrical Drawings From Malekula and Other Islands of the New Hebrides." The Journal of the Royal Anthropological Institute, 1934, Vol.
64, pages 129-176; Nissen, Phillip. "Sand Drawings of Vanuatu." Mathematics in a Multicultural Society, 1988, pages 34-39, The Mathematical Association, Leicester, UK. And we could go on about this mandala
for many more pages. But by now, you either "get it," or you probably never will. What we shall do next is consider the Chalice used at the Last Supper, as it is described in the vision of Sister Anne Catherine
Emmerich. We shall illustrate more verbal images from Anne Catherine Emmerich's vision as line-form optical illusions within the Grail Mandala.
SECTION SIX Sister Emmerich tells us that the "same chalice" used at the Last Supper had been "preserved in Noah's Ark," (74), that "Melchisedech" had brought it from Egypt
to the place in Canaan "where Jerusalem was afterwards built,"(74), that Melchisedech had used it to offer "bread and wine in the presence of Abraham," (74), and, after those events, Melchisedech had left the chalice in the
possession of the Patriarch Abraham. (74). Is Sister Emmerich linking her vision, inspired by line-form optical illusions seen by her within the lines and circles of the Grail Mandala, to earlier visions also divined
from that pattern? Let us explore that possibility for a few moments. The first historian of Christianity, Bishop Eusebius of Caesaraea, referred to Psalm 110:3, as it read in his Bible, and as still reads in the
Vulgate Bible, although not in most other Bible translations, as follows: "From the womb before the daystar I begat Thee." Eusebius. The History Of The Church. Translated by Williamson,
G.A. Penguin Books Ltd., Harmondsworth, Middlesex, England, 1983, at pages 44-45. His effort was to convince his readers that God had created Jesus Christ as a priest forever in the order of "Melchizedek."
The History of the Church, pages 44-45. Which conclusion by Eusebius seems definitely to be correct, if one credits the following narratives from the Bible: Gen. 14:18; Ps. 110:4; Heb. 5:6; Heb. 5:10; Heb.
6:20; Heb. 7:1; Heb. 7:11; Heb. 7:15; and Heb. 7:17. My friends and associates who are archaeoastronomers know that "the womb before the daystar," that is, the Planet Venus while Venus is appearing as the
"Morning Star," is a light phenomenon announcing the rising of the sun. Perry, 1993, supra, at page 14. How could Eusebius have contended that Jesus was born from "the womb before the daystar" and also was
born of Our Lady? Because Our Lady had become the successor to all of the ancient sky- goddesses, by whose names the daystar previously had been known, when the Church crowned Her as the Queen of Heaven?
The Gnostic Christian book customarily referred to these days as Pistis Sophia tells us that "Melchizedec" was the "great Receiver of the Light" who "carrieth . . . light into the Treasury of Light."
Pistis Sophia: The Gnostic Tradition of Mary Magdalene, Jesus, And His Disciples. Translated by G.R.S. Mead. Dover Publications, Inc., Mineola, New York, 2005, at pages 27-28,242,279,301. (Notice that
there are several accepted spellings of the name of the "Priest of Light." King James' Bible: "Melchizedek." Pistis Sophia: "Melchizedec." Vision of Sister Emmerich
: "Melchisedech.") The author(s) and translator(s) of Pistis Sophia
seem to have agreed with Bishop Eusebius' contention that Jesus was created by God as a priest forever in the order of Melchizedec, Melchizedek, or Melchisedech because in Pistis Sophia, "Jesus appears
as a great angel of light." (xxxvii,4,6). As that Gnostic Christian vision goes, "Pistis Sophia," elsewhere referred to as "Wisdom," is an angel who has "fallen" because her "light" has been stolen by a cast of evil
"powers" such as "Adamas, the great Tyrant," (19,30,11,120, 140), "a great lion-faced power," (35-37,50,71,75, 82,86-88,115,140), and a "dog-faced one." (213,265-266). Other bad faces on evil "powers" include "a cat's
face," (265-266,296), a "bull's face," (266), and a "vulture's face." (266). I suppose that most of my readers realize that a vulture and an eagle both are flesh-eating birds with similar appearances.
The good characters of Pistis Sophia
include a "Virgin of Light." (163,220, 230,238,242). And the good place is the "Treasury of Light," (162,242,276), or the "Veil of the Great Light." (162). And the hero of the vision is Jesus the Christ, who appears as a Great Angel of Light. (xxxvii,4,6).
The object of a Gnostic Christian's striving in the direction of the "good" is to "enter the Light-kingdom," which entry "will purify you and make you into refined light and lead you into the Light-kingdom."
(213). In short, to be with Jesus the Christ, the Great Angel of Light. (xxxvii,4,6). So the fallen angel, "Pistis Sophia," could regain her "light," Jesus the Christ, God's Light Priest forever in the Order of
Melchizedec, "changed their [the evil powers'] influences and their squares and their triangles and their octagons. . . ." (23). "I [Jesus] changed them, setting them so as to spend six months facing towards their left and
six months facing their right paths." (24). "I [Jesus] have changed their path for the salvation of all souls." (25). What think you, my readers? Do you want to take another look at the squares, triangles,
and octagons on the Grail Mandala before you make up your mind about whether or not there is some probability that we are reading in the Gnostic Christian vision entitled "Pistis Sophia
," as well as in Sister Emmerich's vision entitled "The Dolorous Passion Of Our Lord Jesus Christ," visions divined from line-form optical illusions seen on the Grail Mandala? You want more
evidence? Perhaps, you should not have asked for more evidence! Sometimes, we get that for which we ask! The "Tetramorphs" of the first-chapter and tenth-chapter visions of the Prophet Ezekiel include
lion-faced, ox-faced, man-faced, and eagle-faced humanforms. Book of Ezekiel 1:10, 10:14. Perry, 1991, supra, at pages 16-17. We are told in Pistis Sophia
that one "sphere" we are considering in that vision "is called the Archer." (305). One "sphere"? Definitely keep the word "sphere" in mind. We will confront it again in just a few
moments! Four "archers" abound in Sister Anne Catherine Emmerich's vision, where those "archers" are portrayed as sadistic persons who repeatedly inflict ghastly pain and suffering upon Jesus the Christ.
(120,126-127-128,167, 235,250). And, guess what? A line-form optical illusion of an "archer," complete with bow and arrow, clearly is visible within the lines and circles of the Grail Mandala! Perry, 1991, supra
, at page 117. My readers know that the
"Tetramorphs" of Ezekiel's first-chapter and tenth-chapter visions are the same as the "archers" or the "watchers" in other cosmology and cosmogony which was divined from the Grail Mandala, and my readers understand the role in
mathematical archaeoastronomy which those critters played. Perry, 1991, supra, pages 1,3,95,117,317-318; Perry, 1993, supra, pages 29-30. What follows next in this writing is
text without endnotes and bibliography from my "Scottish Paper," the most-popular academic paper I ever presented to the largest audience and to the most-diverse audience, which conference included mathematicians, astronomers,
archaeoastronomers, ethnoastronomers, astrophysicists, anthropologists, ethnologists, historians, folklorists, mythologists, linguists, clergy and hierarchy of many Christian denominations, and a wide variety of other academic
specialties, who had gathered together to study calendrical systems derived from solar, lunar, and astral periodicities. The gentleman whose paper preceded mine was referred to as the "Dean of [censored]" because that
was his position in the Presbyterian Church of Scotland. His topic was astrology as stated expressly in the Bible. He opened his presentation with Moses' wearing on his head, in the form of light rays, the Horns of
Aries, the Ram, as Moses chastised the Hebrews gathered at the foot of the mountain for still worshiping Taurus, the Bull, in the form of the Golden Calf. He concluded his paper by discussing the Piscean God of End Times,
Jesus the Christ, Pisces (the Zodiac Sign of the Two Fish) being the last Sign of the Zodiac. (Is the Zodiac Sign of Two Fish why Jesus is said to have a "twin," which is the exact meaning of the name "Thomas"?) My wife
immediately breathed a sigh of relief, as she thought of all of the Vesica Pisces
fish-form stickers seen on back bumpers of motor vehicles driven by devout Christians where she and I live on the Buckle of the Bible Belt of the southeastern United States. She relaxed. If a Scottish Christian clergyman could present such a paper, perhaps she and I would not be imprisoned in Scotland or the United Kingdom for blasphemy.
Anyone who wants to read the source materials upon which the following text was based should get a copy of Perry, Lee. The Holy Grail: Source of the Ancient Science and Spirituality of the
Circling Cosmos. Saoirse Cainte Press, Cumming, Georgia, USA, 1993, which is my "Scottish Paper" formatted as a small, paperback book. We begin this discussion with Illustration One
is an early Sumerian pictograph for "star," "heaven," or "god." (Courtesy of the University of Chicago Press.) That pictograph later became known in Judaism as the "Shekinah." The Shekinah was the feminine symbol for the "Divine Presence" of YHWH, the never-pronounced "Tetragrammaton" of Judaism, or "Jehovah," the Christian God of the Old Testament.
Illustration Two is an early Sumerian pictograph for "Earth," that is, the planet, not the soil. (Courtesy of the University of Chicago Press.) Illustration Three
is an early Sumerian pictograph for "mountain."(Courtesy of the University of Chicago Press.) Illustration Four
is a line-form optical illusion created by bolding lines and circles of the Grail Mandala. What do we see in Illustration Four? English-language translations of the Moses Story indicate that when Moses came
down from "the mountain," the skin of his face "shone." Our manform optical illusion in Illustration Four
stands upon the early Sumerian pictograph for "mountain," and his face is shining with the rays of the Sumerian pictograph for "star" or "god." What does he hold in his arms? The tablets of the Law of Moses? American Indians learned that the sun's reverse image safely can be viewed by allowing the sun's rays to pass through a narrow opening in or between rocks, and to fall upon a rock surface. Functional examples of
such sun-viewing stations, which were used by tribal shamans to establish the arrival of the solstices and the equinoxes, are to found throughout North America. The King James version of Exodus 33:20-23 describes this
sun-viewing technique. The shaman stands at a predetermined location. Exodus 33:21 says, "[T]hou shalt stand upon a rock." The sun's rays penetrate between the rocks or through a man-made hole. Exodus 33:22
says, "[W]hile my glory passeth by . . . I will put thee in a clift of the rock." The translation of Exodus 33:22 in the New English Bible employs the word "crevice" instead of "clift." The shaman views the reverse
image of the sun projected onto a rock. Exodus 33:23 says, "[A]nd thou shall see my back parts: but my face shall not be seen." Christians will flay me, verbally, for adding the foregoing analysis of the Moses
Story to this text, saying that it is not in the context of what we are discussing. Really? I thought we were discussing ancient understanding of what today is called "the mathematical physics of light" and what is
called the "mathematical astronomy or astrophysics of the solar system." Why do modern students and adherents of Judaism not also critique that presentation? Because they realize that Hebrews, like the American Indians,
never worshiped the sun; rather, that the sun, usually in the form of the "Shekinah" symbol, was regarded as an avatar of YHWH, not as God, Himself? Wake up to reality, Christians! Illustration Five
is a modern mathematics professor's sketch of a "concave-sided tetragon," which is the geometric form that has been with us since we first viewed an image on the Grail Mandala. (Courtesy of Dover Publications, Inc., New York.) Readers who are numerate may prefer to refer to that pattern of lines as a "hypocycloid," or, even more specifically, as an "asteroid." However, for our purposes, it is more important what the geometric figure will do than the name by which it is known.
A hypocycloid is a curve generated by a mark on the circumference of a circle, which mark rolls on the inside of [Hebrew: "betoch"] the circumference of a fixed circle. There is a cusp at every point where the
rolling mark touches the fixed circle. A four-cuspid hypocycloid is known as an "asteroid." The Hebrew of the Prophet Ezekiel's first-chapter and tenth-chapter visions does not say, "A wheel in the middle of a
wheel." It says, "A wheel betoch a wheel." An asteroid can serve as an "envelope of ellipses." According to one of Kepler's Theorems, the planets travel around the sun at variable velocities along
flight-paths resembling ellipses. Sir Fred Hoyle, one of the best of British-Isles astronomers, said that the "Aubrey Circle" at Stonehenge represents the Ecliptic, that is, the Great Circle of the Zodiac. Many of the
ancient stone "circles" in Great Britain are not circles at all; rather, they contain elliptical elements. Were the ancients attempting to state in stones what Kepler later stated in words and mathematics, i.e., the theory
that the planets travel in elliptical orbits around the sun? Is the Prophet Ezekiel expressing the opinion that the rotation of the Earth around the Ecliptic or Zodiac (one wheel) as Planet Earth rotates around
itself (the other wheel) can be described on the ground and in the sky by an envelope of ellipses? Did Kepler construct for himself his theory that the planets travel around the sun in elliptical orbits, or did he inherit it
from his mother, whom the Church had burned at the stake as a witch? Illustration Six
depicts an early Sumerian pictograph for "star" or "god" which is located in the middle of an envelope of ellipses. Is this a line-drawing of our sun in the middle of the rotational orbits of the planets?
Illustration Seven
depicts an early Sumerian pictograph for "star" or "god" in the middle of four early Sumerian pictographs for "Earth," that is, the Planet Earth, not the soil. Is this a line-drawing of our planet orbiting our sun? Illustration Eight
depicts one Sumerian pictograph for "star" or "god" centering each of four circles, which four circles, in turn, are centered by a fifth circle containing the pictographs and geometrical forms of Illustration Six
(the early Sumerian pictograph for "star" or "god" in the middle of an envelope of ellipses) and Illustration Seven
(the early Sumerian pictograph for "star" or "god" in the middle of four early Sumerian pictographs for "Earth," that is, the planet, not the soil). Is Illustration Eight
a pictographic, stereographic projection of our solar system? Let us explore the probability that Illustration Eight
is an ancient pictographic, stereographic projection of our solar system. Christian fundamentalists doubtless have suffered from a religious stomach-ache long before reaching this point in this analysis because we are discussing ancient science which some human institution (The Church, perhaps?) must have expunged from human knowledge! Those readers who are literate, numerate, and open-minded, on the other hand, are awaiting further proofs of this amazing theory!
And here comes that proof: In the astronomy of the ancients, the twelve divisions of the Zodiac were fixed along the Ecliptic by four "Guardian Stars," also referred to as the "Tetramorphs," "Royal
Stars," "Archers," or "Watchers." Recall that the vision of Sister Emmerich abounds with "archers," whom she portrays as sadistic persons who repeatedly inflict ghastly pain and suffering upon Jesus the Christ.
(120,126-128,167,235,250). We already have learned that Sister Emmerich knew the ancient cosmology about Jesus' having been made by God a Light Priest forever in the Order of Melchisedech. Could it be that Sister
Emmerich also understood the mathematical astronomy and cosmology we currently are discussing? Those four "Guardian Stars" or "Archers" define a cross in the sky! They are "Regulus," lying in the
constellation Leo (the lion), "Aldebaran," lying in the constellation Taurus (the bull), "Fomalhaut," now lying in the Southern Fishes but formerly considered to be lying in the constellation Aquarius
(the water-bearing man), and "Antares," lying in the former constellation of the eagle, which now is more or less the constellation Scorpio the scorpion. They are Lion, Ox
, Man, and Eagle, the Tetramorphs of Ezekiel's visions, and the Archers, of Sister Emmerich's vision. They are the symbols chosen by the Christian Church for the Four Evangelists. The Christian
order is: Matthew--the winged man; Mark--the winged lion; Luke--the winged ox; and John--the eagle. Here is the crux of the matter: Within extended periods
of time during the Precession of the Equinoxes, certain of those four stars served, more or less, as locators of the solstices and equinoxes. For instance, Aldebaran more or less marked the Vernal Equinox from approximately
4000 B.C.E. to approximately 1700, the latter date being within the precessional window of the Babylonian tablet, now housed in the British Museum, from which my mentor and I first obtained the Grail Mandala. The four
Guardian Stars or Archers were used to locate the equinoctial and solstitial colures, four great circles in the sky. Recall the Eight Illustrations previously seen in
Please take another look at the Eight Illustrations
previously seen in [
IMAGE 17]. We have seen four colures centered by
four Guardian Stars, or "Archers," as Sister Emmerich referred to them in her vision, fixing the two solstices and the two equinoxes along the Ecliptic or Zodiac. We have seen Planet Earth at each of its four seasonal
positions, directly opposite to the four Guardian Stars or Archers, which center the four colures and fix the solstices and equinoxes. All of which is centered by an envelope of ellipses, defining the rotational paths of the
planets, which is centered by our sun. We have, indeed, observed a pictographic, stereographic projection of the sun-centered cosmos of Aristarchus of Samos. You never have heard of Aristarchus of
Samos? He was a "heretic" long before the "heretics" Galileo and Kepler. Nearly everyone knows that the Church silenced Galileo by placing him under house arrest for the remainder of his life rather than executing him
for his heresy about what centered what in the sky, and what rotated around what in the sky. The modern Christian Church wants its pewsitters to believe that Galileo was the first to posit a sun-centered cosmos.
However, Galileo credited Copernicus, who credited Aristarchus, who credited "the ancients" with the first exposition of a theory and proof of the existence of a sun-centered cosmos. And recall that the Church burned Kepler's
mother as a witch. The question that must be burning in the craw of any Christian Fundamentalist who has made it thus far into the dark recesses of this paper is: "Why did the Church care what centered what in
the sky, or what rotated around what in the sky?" The answer is quite simple. The church was, and wanted to remain, the sole authority on everything, including science as well as religion. The church sought to
destroy the old science as well as the old religion because the two were inseparable. Finding the old science quickly can lead a Christian true-believer to the very origins of the Christian faith in the sky stories of the
ancient calendrical system. The ancient libraries of the world had been burned by mobs of raging Christian Fundamentalists, at the behest of Christian clergymen, and the ancient scholars of science and mathematics had been
stoned to death by raging mobs of Christian Fundamentalists. Then here came the heretic Galileo, using his homemade telescope to open the entire can of worms once again. Can heresy never be suppressed?
SECTION SEVEN Sister Emmerich refers to the Chalice as "this holy vessel, which none had ever been able to melt down on account of its being made of some unknown material." (73). That statement is mirrored
in the Grail literature, where we read about the Chalice: "[F]or of wood was it not, nor of any kind of metal nor of stone was it wrought, neither of horn, nor of bone." Weston, Jessie L.
The Quest of the Holy Grail, Dover Publications, Inc., Mineola, New York, 2001, at pages 2, 91. Of what material was the Chalice made? Light from the sun! White light from the sun converted by
natural prisms of a clear quartz crystal into the rainbow-colored "Uniaxial Interference Pattern," seen inside of a clear quartz crystal struck by sunlight at the proper angle! Wood, Elizabeth A. Crystals
And Light: An Introduction to Optical Crystallography, Second Revised Edition, Dover Publications, Inc., New York, 1977, Plate V, Photograph (3); Perry, 1991, supra, pages 18-19. Sister Emmerich says that the Chalice was "found by the priests in the treasury of the Temple among other objects no longer made use of" and "had been sold to some antiquaries" who sold it to "Seraphia," who later
was known as "Veronica." (73). Sister Emmerich says that from the day of the Last Supper, the Chalice became the exclusive property of the holy Christian community. (73). The Chalice was found by what "priests"?
Surely not the Knights Templar, who, according to legends widely in circulation in Europe during the lifetime of Sister Emmerich, found the treasure of the Temple in secret tunnels under the Dome of the Rock! How could
that be, because the Knights Templar were not organized, and in existence, until hundreds of years after the Crucifixion? According to Christian legends, "Seraphia" became known as "Veronica" (from vera icon
or "true portrait") after the "bloody countenance of our Lord imprinted" upon her veil, which she allegedly had offered to Jesus for Him to wipe His bleeding face, while the "archers" dragged Jesus, cruelly, toward His Crucifixion. (241-242).
A historical time-line for these unnamed "priests," (73), makes no sense. Unless the Veronica Myth, like so many other Christian myths about the Crucifixion, was more or less contemporaneous with the myth of the
Templars' finding the treasure of the Temple. In which event the legend about "Veronica" could have "lived" during the times of the Templars instead of at the time of the Crucifixion! Sister Emmerich must be
trying to tell us, in a rather round-about way, that the Veronica Myth is to be dated at or near the Templar Myth. Which is well-known to those persons who know about Christian mythmaking. Most especially is this so
about the many Crucifixion-related myths perpetrated by the Empress Helena about "sacred places" in Jerusalem. Sister Emmerich tells us that "[t]his vessel [the Chalice] was not always the same as when used by
our Lord at his Last Supper, and perhaps it was upon that occasion that the various pieces which composed it were first put together." (73). Her description of the Chalice varies in several particulars from the description
found in the various Grail legends. Perry, 1991, supra, pages 198-199,204,228. Sister Emmerich says that "[t]he great chalice stood upon a plate, out of which a species of tablet could also be
drawn. . . ." (73). Is that a "tablet," in the sense of a "small, flat surface with a bas-relief"? The World Book Dictionary, Volume Two, 1979 Edition, page 2133. And what of the words,
". . .could be drawn. . .?" Drawn by whom? By persons like you and me? Could that bas-relief which could be drawn possibly be a pattern of lines and circles with which we already are familiar? Sister Emmerich tells us that ". . . around it [The great
chalice] there were six little glasses." (73). We see one of the "glasses" in She continues, saying that "above it there was a small plate, and then came a round
cover." (73). The vision continues: "A Spoon
was inserted in the foot of the chalice, and could be easily drawn out for use." (73). We see the "spoon" in We next are asked to visualize that "[a]ll of these different vessels were covered with fine linen . . . and were wrapped up in a case made of leather." (73). I suggest that the
Grail Mandala, a/k/a the Heavenly Veil and/or Veil of the Temple, is the two-dimensional "fine linen" we are supposed to visualize while contemplating the Grail Mandala, and the "case made of leather" is a three-dimensional drawing
of the Grail Mandala, that is, the Grail Mandala seen in front, side, and top perspectives. Sister Emmerich tells us that "The great chalice was composed of the cup and of the foot," (73), and that the "cup was pear
shaped," (73), with "two small handles by which it could be lifted." (73). The Chalice we see in But why different visions with different results? Because this is yet another way for
Sister Emmerich to prove to those persons who are familiar with the Grail Mandala, that is, knowledgeable Christian clergy and hierarchy, and other Grail hierophants and adepts, that she constructed her word-form images from the
Grail Mandala itself instead of copying them from word-form or line-form images she saw in someone's sketch book or common-place book. Sister Emmerich is speaking directly
to Grail hierophants and adepts, saying, "Watch me do something new on the Grail Mandala!" She thus has proven that she as much a hierophant of the Grail as was Hildegard von Bingen! Perry, Lee.
Hildegard von Bingen: Hierophant of the Holy Grail. Copyright © 1992 Lee Perry. All Rights Reserved. A paper presented to the International Society of Hildegard von Bingen Studies during the 27th
International Congress on Medieval Studies, 1992, at Western Michigan University, Kalamazoo, Michigan. Stated another way, Sister Emmerich is saying to all persons who read her 1823 vision, "I knew the Grail
Mandala! Do you?" This is an equivalent of a Masonic handshake! Or the code-word of your college fraternity or sorority, or of the tree-hut club to which you belonged as a young child! The
"pear" shape of Sister Emmerich's visionary Chalice is another trick of a Grail hierophant. The "cup" of Sister Emmerich's Chalice seen in It helps to know the appearance of the bud-end of a pear. And it helps to have studied engineering drafting in high school and college, and having earned your living as an
engineering draftsman during law school! But you can do it without my help. And you just did! You are beginning to become a Grail adept, yourself, like it or not! And you just have
understood, possibly for the very first time, just how seriously Grail hierophants took the Grail Mandala as being a way of divining visionary messages from God Almighty! Were they wrong? I neither can prove nor
disprove that they were wrong! Now, is your flesh crawling and/or the hair on the back of your neck standing straight up? Do you suddenly feel a chill? If so, it is not the HVAC (heating, ventilation, and
air-conditioning) system. It is you! There are two possibilities: Either this Grail Mandala stuff is just plain silly. Or, it is not. What do you think? Sister Emmerich says that the foot was
"ornamented with a serpent and a small bunch of grapes, and enriched with precious stones." (73). Here we encounter another trick of Grail hierophants. We must imagine the serpent, the small bunch of grapes, and the precious
stones Sister Emmerich says that the chalice "will reappear some day, in the same manner as before." (74). That "some day" was the day in the year 1991 when my opus
was published and the Chalice appeared therein in the "same manner as before" Sister Emmerich's 1823 vision. And the Chalice may have reappeared one day in a publication between Sister Emmerich's 1823 vision and the
publication of my 1991 book. Perry, 1991, supra, page 199, Figure 306. In 1900, Lyman Frank Baum published his best seller The Wonderful Wizard of Oz. A straw
man. (Section Two of this essay.) A man with an axe. (Perry, 1991, supra, at page 240, Figure 389.) A cowardly lion. Sister Emmerich tells us that the Disciples wore, "a white robe resembling a shirt, and a cloak, which was short in front and longer behind, their sleeves were
large and turned back, and they girded up their clothes around their waist." (78-79). Please take a careful look at all of the line-form optical illusions of See if you agree with me. (1) Let us mentally remove the cowl of the Disciples' robes or cloaks because Sister
Emmerich says nothing about such a cowl on the Disciples' robes or cloaks. (2) Let us bold with dotted lines the arc which extends downwards from the opposite ends of our man-form's belt, and refer to it as the part of the
robe-cloak which is "longer behind." You recall that we use dotted lines to describe something which cannot be seen behind an opaque surface. (3) And let us add an open collar to the shirt-front by bolding the two
right-triangles which extend downwards from the ends of his lips. At this juncture in this presentation, those few
Christian Fundamentalists who have made their way into the "dark recesses" of this essay have a standard criticism of our line-bolding techniques, which is that anyone can by those practices produce on the Grail Mandala any
image which he/she wishes to produce! My reply is, "Not so." My proof is for such "Doubting Thomases" is to ask them to try to find a line-form image on the Grail Mandala corresponding with each and every word-form image from their favorite non-Bible story. They soon will "strike out." There really are a rather limited number of images which can be conjured up from the Grail Mandala. Which is another clue to let a Grail adept know that he or she is reading a Grail story! Bible stories are off-limits for that purpose! Why? Duh! Many of them
were divined from the Grail Mandala! She said that the "table [of the Last Supper] was narrow, and about half a foot higher than the knees of a man; in shape it resembled a horse-shoe." (79). We are told in her vision that the "bread" [of the Last
Supper] was served in "round loaves," (79), Sister Emmerich tells us that during the ceremony, "Our Lord poured a few drops of the Precious Blood remaining in the Chalice into the little vase."
(88). We are told that neither Jesus nor Melchisedech ate or drank any of the consecrated elements. (88). Melchisedech, as
well as Jesus, was present at the Last Supper, according to the vision of Sister Emmerich? As Elias and Moses, also biblical characters from past times, were present on the "mountain" during the later vision of the
Transfiguration? Book of Mark 9:2-9. SECTION EIGHT
In this section, we will discuss the Chalice of the Last Supper, and its six little
glasses, as allegedly seen by Sister Emmerich during her vision of the Last Supper. We also shall discuss various events which allegedly occurred during that event divined by Sister Emmerich from the Grail Mandala, instead of
read by her in the Bible.
We start this
Section with a series of line-form optical illusions which are familiar to my readers. We see the crowned and bearded Jesus on the Cross of Calvary, standing on a foot-rest, according to Sister Emmerich's vision,
(231,248), with the Chi Rho over His head and the Vesica Pisces below His feet. We also see, in this vision, Joseph of Aramathaea, robed and hooded as the first priest of the Church, extending the Grail Chalice, not Sister
Emmerich's Chalice with small handles, (73), to catch in the Chalice of the Mass the blood from the lance "wound" to Jesus' side. Sister Emmerich said she saw Cassius, a subaltern officer, who later was baptized as a Christian under the name "Longinus,"
[Latin: "spear"] wanting to relieve the anxiety of the holy women attending the Crucifixion. (282-283). He took "his lance in both hands, thrust it so completely into the right side of Jesus that the point went through the
heart, and appeared on the left side." (282,296). This story varies in important particulars from the story told in the Bible, in which the man with the spear merely "scratched" [Koine Greek language: "nyssein"] Jesus' side, resulting in a relatively small flow of
blood and water, which proved that Jesus still was alive--because corpses do not bleed. The biblical "scratch"--together with the claim that the "archers" did not break His legs, as they broke the legs of the two "lestes," (281),
which would have resulted in His rapid death from asphyxiation--led to the speculation that Jesus remained alive in the Tomb, and merely was resuscitated instead of resurrected. The 1823 vision of Sister Emmerich arguably was
intended to rebut any claim of resuscitation from a coma, as distinguished from resurrection from death. Moreover, in the Grail literature, Joseph of Arimathaea caught a relatively small amount of blood and
water from the lance "wound" in the Grail Chalice, The Crucifix behind the altar in your chapel, church, or cathedral does not show Jesus
standing on a foot rest while He was nailed to the Cross? The Cross in Sister Emmerich's vision, as on many older Crucifixes, does include a foot rest. (231,247-248). Sister Emmerich says: "A piece of wood was
likewise nailed at the bottom of the cross for the feet to rest upon." (231). "[T]he archers continued their preparations for the crucifixion. . . . They fastened the two arms strongly on to the body of the cross, nailed the
board at the bottom which was to support the feet. . . ." (247-248). In Notice that the Chalice in Sister Emmerich saw various weapons and equipment carried by the "four archers." (126). She saw "sticks." (126,148). We will not be surprised by the appearance of the "four archers." (127,130). It
seems that they were "short" and "stout" with "bare legs, arms, and neck." (130). Are you beginning to understand how visions divined from line-form optical illusions seen within the Grail Mandala are drawn? If so, let's have a short, pop quiz!
Long before Mel Gibson converted Sister Emmerich's The Dolorous Passion Of Our Lord Jesus Christ into his gory and anti-Semitic movie The Passion Of The Christ, an Irish author who earlier
had left Jesuit Seminary when he became ill, and when he began to understand what the Church was "up to," quipped to me over a few draft pints of Irish Stout that if there was a Second Coming, there would be thousands of
blood-thirsty Christians who would pay top price for front-row seats at the Second Crucifixion. I thought him wrong, until I learned how many millions of dollars Mel Gibson had made off his movie. Those of you
who are Christian True-Believers who would love to be "washed in the blood of the Lamb" should prove your Grail skills by finding within the Grail Mandala all of the various torture devices and practices which Sister Emmerich, she
being one of you bloodthirsty ones, saw in her vision being used by the "archers," and others, to torture Jesus. Which devices Mel Gibson incorporated into his cinematic bloodbath. The criteria for this self-test are
two-fold. Sister Emmerich must have seen the torture device or practice in her vision. And Mel Gibson must have incorporated it into his movie. If you do not mind, I shall not accompany you during that test.
Why? Because I have seen too much blood and guts already during my 70 years on Planet Earth. For those of you who are revolted by the adoration of Sister Emmerich and Mel Gibson of blood and guts, I propose
another less sanguine "pop quiz." Instead, you should find within the lines and circles of the Grail Mandala all of the architectural constructs (buildings, platforms, seats, etc.) which Sister Emmerich saw during her vision,
and which Mel Gibson included in his movie. I enjoy the study of architecture, so I will help you with this endeavor. (68,69,70,149,150,162,165,166,167, 168,179,180,181,182-184).
In the meanwhile, let's try to find some humor in this gory story. Please take a look at You must learn to do such things for yourself. Soon, you will finish this essay. Then, you
will be on your own! Unless your clergy-person catches you by a hank of your hair, threatens you with Christianity's mythical "Hell," and thereby herds you back into his flock. "Hell" is mythical? Of
course! Every graduate of a seminary or Bible college learns that in school! Words translated as "Hell" in English-language translations of the Bible include "Sheol," which is Hebrew for any generic hole in the
ground, including graves, and for the mythical place in Hebrew cosmology where the dead went to live but not to be punished. Words translated as "Hell" in English-language Bibles also include "Hades" and "Tartarus," places in
Greek mythology where the dead went to live but not to be punished. Also included is the Hebrew place-name "Gehenna," the only place of punishment mentioned in an English-language translation of any Canon of the Bible. "Gehenna" was the former ever-burning landfill or garbage dump of the Old City of Jerusalem outside of the Dung Gate. "Gehenna" included the ever-burning "pit" into which the bodies of Hebrews executed for felony
crimes were thrown, unceremoniously, instead of their being given a proper Hebrew burial, which was a punishment after death which was despised by Hebrews who lived during the lifetime of the Man called Jesus. "Gehenna" no longer exists. All that remains is a rocky valley, where tourists go so they may say truthfully that they have been to "Hell" and back. Best to take a bottle of sunscreen, and a bottle of
potable water, with you when you "go to Hell" because it is as "hot as Hell" in that rocky valley during much of the year. Actually, "Hel" was the Germanic goddess of the Teutonic Mythological Underworld, a place
posited to be cold and wet instead of hot and dry. Thus, our folk expression that it is "As cold as Hel." Who is afraid of the Big Bad Myth? When that tactic fails, your clergy-person will say to you that
"Hell is perpetual separation from God." They know that the above-mentioned words, translated as "Hell," do not describe Christianity's mythological place of perpetual punishment. And the Bible's "Lake of Fire" is the
predecessor of Roman Catholic "Purgatory," which, like the Zoroastrian "crucible," from which "Purgatory" was copied, was a place of cleansing or purification, and not a place of perpetual punishment. Where does your Bible
say that "Hell" is perpetual separation from God?
SECTION NINE Sister Emmerich tells us that
"Jesus stood [before Pilate] in the midst of the archers." (228). Keep that scene carefully in mind until we learn the meaning of "Pilate." You most probably will recall the Shekinah symbol for God, in the form
of a sunburst. We saw that symbol in the midst of the Four Guardian Stars, also known as the Four Archers. See, Illustration Eight of Suppose we replace the Shekinah in the midst of the Four Archers with a line-form
optical illusion from the Grail Mandala of Jesus on the Cross? Jesus being one of the Christian Trinity's "Masks" of God. Sorry about that word "Masks." Unless you read Koine Greek, or your clergy-person is
remarkably honest, you do not know that the Koine Greek Language in which the New Testament was written does not say the three "Persons" of God, as does your King James Bible. Instead, it says, in Koine Greek,
the three "Masks" of God. The word "Masks" pertaining to the Christian Trinity is a reference to the masks which Greek actors wore while playing roles in Greek plays. There is nothing complicated about the concept
being expressed. The idea is that the Christian Trinitarian God plays three "roles," that is, Father, Son, and Holy Ghost. Which means, I suppose, in logic instead of in faith, that Jesus was His own Father, and that
Mary was both the Mother of God and the Spouse of God. But let's not quibble with such "mysteries" because we fast are approaching an understanding of the God-concept expressed geometrically on the Grail Mandala.
Sister Emmerich's Cross is very different from the Cross or Crucifix seen these days in Christian cathedrals, churches, and chapels. "[T]he form of [her] cross was peculiar--the two arms stood out like the branches of a tree
growing from the stem, and the shape was very like that of the letter We already have discussed the foot rest. Section Eight of this essay. And we repeatedly have discussed that the Gnostic Christians considered Jesus to be a Priest of Light. See
Section Five, and Sections Seven and Nine of this essay. Recall that Jesus wore a halo of light. (160). Pre-Christians wrote about the Tabula Smaragdina, Perry, 1991, supra, page 110, using the
following words: "What is below is like what is above; what is above is like what is below." The so-called "Tabula Smaragdina" is the "green tablet" about which Sister Emmerich has written. (73,231). She even
referred to it expressly as "a green-looking stone." (231). The "bas-relief" on this green stone is the Shekinah symbol for God as seen on the Grail Mandala. See Section Seven of this essay. So, what
is the nature of Sister Emmerich's Cross of Heaven, which centers the Four Archers? It is a Cross of Light upon which is suspended a Light Priest, the Risen Christ! We see in Sister Emmerich tells us that executioners "brought out a species of chessboard marked with figures," (258), with which to game for Jesus'
clothing. Is she referring once more to the Grail Mandala? And she says that the executioners tied Jesus' body to the Cross with ropes in fear that the nails in the palms of His hands, and in His feet, would not support Him on the Cross.
(252-254,258). By the time of Sister Emmerich's vision in the year 1823, archaeologists, historians, and physicians knew that the Romans had nailed their victims to crosses not through the palms of their hands, and through their
feet, as is illustrated in Christian iconography and Christian art but, instead, through their wrists and ankles. Because nails through the palms and the feet of crucified persons would not support the weight of the crucified
persons' bodies. (258). Sister Emmerich's vision supports the erroneous Christian iconography or art which illustrates nails through palms of hands, and through feet, instead of through wrists and ankles, and then her vision
"finds" within the pattern of lines and circles on the Grail Mandala a series of "ropes" which allegedly were used to support the Body of Jesus on the Cross. Where in the Bible are such "ropes" mentioned? It
seems to me that Sister Emmerich wants the best of both worlds. She defends Christian iconography while she acknowledges historical and physical reality known in 1823. Is this one bit of evidence supporting the
conclusion that Sister Emmerich was a true-believing Roman Catholic instead of a closet heretic? If so, why was she confronting the clergy and hierarchy of the Church with another "spin" on the Grail Mandala at the late date
of 1823? A reminder at that late date that visions on the Grail Mandala are the actual origin of Christianity cannot have been comforting to the mainline Christian clergy and hierarchy! If you know the answers to those
questions, please tell me. As a result of the many tortures, Sister Emmerich says that Jesus' nose became "more pointed." (273). The pointed nose of the Grail human-form, when the face of the Grail human-form is seen
in side perspective, almost always has been a topic for parody and satire by those mythmakers who have used the Grail Mandala to create visions. Perry, 1991, supra, pages 277-278. Sister
Emmerich said that Mary the Mother of Jesus used a species of pincers to draw out from Jesus' body the thorns which had remained in His skin. (294). Sister Emmerich tells us that the shape of those pincers reminded her of the
scissors with which Samson's hair was cut off. (294). Sister Emmerich said that the name of the place where the Crucifixion took place, Calvary,
came from the fact that the "Cross of Jesus was placed vertically over the skull of Adam." (306). Are these further attempts by Sister Emmerich to let her readers who are Grail adepts or hierophants know that her vision, as well as those earlier visions, were divined from the lines and circles of the Grail Mandala?