From the back of the book-
This is the story of a quest, a search for a place that is not meant to exist. The elect who have been allowed to share its secret across the centuries have employed codes, secret signs, mysterious writings and works of art to ensure its location and significance e remains concealed from the uninitiated….
Fascinated by ancient history, esoteric writings and the paintings of the greatest Renaissance masters, art historian Peter Blake has watched as others have made guesses as to the codes and meanings that are embedded in them. But from the recurrent themes, symbolism and patterns Peter has discerned, he reaches quite different conclusions from those grasped at by other researchers. Not least, he has uncovered an Arcadian hillside tomb, untouched for hundreds of years.
If the clues that have led him along his trail are right, this could be the final resting-place of two of the most significant characters in the Bible.
Many books claim to have uncovered Christianity’s Greatest Secret and most of them rehash the same old theories based on the same patchwork of Biblical writings, historical record and creative guesswork, resulting in no objective ‘truth’ or convincing evidence being presented in support of, what I have come to think of as Christianity’s Worst Kept Secret.
Still these particular works hold an inexplicable fascination for me and I keep reading in hope that one day one will deliver on its promise. Sadly for me this wasn’t to be the day.
These authors focus their arguments on supposed clues that can be found in various famous works of art. Not a particularly new idea but one that has been worked a little less than others.
They go to some lengths to convince the reader that the diagrams they see actually exist within the paintings but I was not won over. I do believe that they see the various clues they claim to, but only because they are looking for them. Any five points could be joined together to form a pentagram, just as any four could make a square or six a hexagon. In spite of their arguments the points chosen seemed fairly arbitrary to me.
Likewise the rescaling and laying of the patterns found over a map to discover points and lines within the paintings match up with long standing natural features on the ground. Perhaps I don’t entirely understand the methodology used but I’m sure those same patterns could have been laid over almost any map and if the scale was right they would magically match up with other natural features.
While I can’t deny that the authors did, at some point, discover something, and that the something might have been used as a pair of tombs in the distant past, their conclusions left a lot of doubt in my mind.
There may very well be visual codes hidden within great art works but I am not convinced that those codes have been correctly uncovered here.-Lynn
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