Alton Towers, Sir Francis Bacon and the Rosicrucians

Debra Lynn

Padawan Learner
Whether Laura may have been Priscilla in a previous life is one I think you may need to address to Laura directly. When the C's mentioned that the earliest Christ or messiah was a woman, we cannot know just how far back in time they may be going, since Christianity has only been around for 2000 years, whereas human civilisation has been around for tens of thousands of years, if you include Atlantis, Lemuria and even earlier civilisations in the mix.

It is a common misconception that women did not play a role in spreading the gospel in early Christian times. Priscilla is highly regarded in the early church. Indeed, Mary Magdalene was also meant to have been a missionary in southern France. If you want to know more about her, I will speak to my brother as he is quite an expert on scripture and the early church fathers. I will try and address your bloodline point in a separate post.
Thank you for your reply. I don't think I will bother Laura by asking about her past lives. When I read about Pricilla my thought was that sure sounded a lot like Laura. But those could be qualities all great teachers have. You're probably right about us not knowing how far back this all goes.

As far as Mary Magdalene I am not sure what to believe anymore. Is she even real? I think Laura has done a remarkable job of dismantling the New Testament version of Jesus so I'm not sure who this Mary Magdalena person is or who she might be based on. But I am always open to learning more. Basically I was just curious about the woman the C's spoke of.

I had been thinking it would be interesting to find all the Mary and Mary Magdalena references in the New Testament and see how they relate to the information in Laura's book about who some of these people really were. First I need to finish the book.

I am enjoying reading your work here.
 

MJF

Jedi Master
One could ramp up the specualtion to eleven with the suspision that Gildoni himself did not know what he was doing here, because "something" lead his hand. Maybe this was exactly the reason for the overpainting?
But that would be speculation just for the thrill of it, of course.
It shure is the best "paradolia" I came across till now.
To be honest that thought crossed my mind too when I suggested that he may have been led by the muse. Could he have been unconsciously guided to leave these clues perhaps? The crown or borealis is a symbol of enlightenment like a halo in religious art. Pharaoh's used to wear the cobra's headdress because the snake or viper was associated with wisdom and is, therefore, another sign of their enlightenment. It may also be indicative of belonging to the Brotherhood of the Serpent. Gildoni may have overpainted the crown because monarch's only tend to wear their crowns on state occasions and at Court. Queen Elizabeth is supposedly a guest in Dee' house, so was not at Court and was not expected to be wearing a crown. The holding of the knee may be a pointer, as Laura has previously noted that so many classical artists seemed to emphasise the knee in their paintings. It could be some masonic gesture, although I am not aware of that particular one. The crossed leg position certainly is an occult sign and reflects also in the skull and cross (leg) bones. I see no harm in speculating here. When contrasting it with Poussin's painting though, we know Poussin fully intended to leave clues in his work and he left them openly on display, to the horror of King Louis. Perhaps Gildoni was a secret Rosicrucian? Who knows? Dee was one of the most enigmatic figures of his age, so Gildoni may have wanted to draw attention to Dee's hidden, occult side.​
 

MJF

Jedi Master
Thank you for your reply. I don't think I will bother Laura by asking about her past lives. When I read about Pricilla my thought was that sure sounded a lot like Laura. But those could be qualities all great teachers have. You're probably right about us not knowing how far back this all goes.

As far as Mary Magdalene I am not sure what to believe anymore. Is she even real? I think Laura has done a remarkable job of dismantling the New Testament version of Jesus so I'm not sure who this Mary Magdalena person is or who she might be based on. But I am always open to learning more. Basically I was just curious about the woman the C's spoke of.

I had been thinking it would be interesting to find all the Mary and Mary Magdalena references in the New Testament and see how they relate to the information in Laura's book about who some of these people really were. First I need to finish the book.

I am enjoying reading your work here.
Don't forget that the C's have hinted strongly that 4th Density STO souls may have been inserting themselves back into the timeline as 3rd Density persons so as to counter STS plans at various stages. These may be the light workers in our own age referred to by Barbara Marciniak in the 'Bringers of the Dawn' and some of them may also have been the 'Shining Ones' Gardiner and Osborn have referred to in their work. I would guess that Laura is certainly one of these people. If so, such people have knowledge hidden in their core (DNA), which may be revealed more and more as the Wave approaches.
 

MJF

Jedi Master
And the ancient Egyptians were in on it too...:

View attachment 46001
I wonder if this is the real origin of the expression a 'feather in your cap' See: A feather in your cap - Wikipedia

I also read somewhere that the chiefs of the Native American Indian tribes of the Great Plains used to wear a feather headdress or war bonnet, which was meant to represent the rays of the sun and thus another sign of enlightenment. This custom could also have been distantly connected to the feathered serpent gods such as Quetzalcoatl, the main god of the Aztecs in Mexico.

1623280134145.jpeg
 

moyal

Jedi
Maat_Ankh-knee.jpg

The egyptian depictions of gods often have a sign on their head to specify their characteristic. Isis for instance has a stone throne.

In this particular post I wanted to bring the attention to this hyroglyph I marked. The particular way the knee is accentuated and connected with an Ankh.
 

moyal

Jedi
I wonder if this is the real origin of the expression a 'feather in your cap' See: A feather in your cap - Wikipedia

I also read somewhere that the chiefs of the Native American Indian tribes of the Great Plains used to wear a feather headdress or war bonnet, which was meant to represent the rays of the sun and thus another sign of enlightenment. This custom could also have been distantly connected to the feathered serpent gods such as Quetzalcoatl, the main god of the Aztecs in Mexico.
Not especially connected, but this post of you now makes me wonder, where the Gamsbart on traditional european hunting cothes comes from.

Gamsbart.jpg

 

MJF

Jedi Master
The "Vitruvian Man" (supposedly circa 1490) is at least about the proportions of the human body.

Beyond that, it could also have something to do with the human being as a microcosm and the number-magickal-cabbalistic significances of the proportions.

This is at least the impression one gets when one takes a closer look at Agrippa's "De occulta philosophia libri tres" (1533).

View attachment 45993
I have read that some people link Vitruvian Man with the Golden Ratio and the Fibonacci Series (including conspiracy thriller writer Dan Brown). Da Vinci certainly used the Golden Ratio in his paintings - see Divine Proportion/Golden Ratio in the Art of Da Vinci but others disagree where Vitruvian Man is concerned - see: “Vitruvian Man” by Leonardo da Vinci and the Golden Ratio.

It is interesting that the C's once brought the number Phi up in a session but at that time Laura did not appreciate its significance.

The irrational number Phi is the basis for the Golden Ratio, Section or Mean. The value of Phi ( Φ ) is 1.618033988749895. ... The Golden ratio is a special number found by dividing a line into two parts so that the longer part divided by the smaller part is also equal to the whole length divided by the longer part. It can be expressed by the equation Φ = 1 + Square root of√5)/2.
 

MJF

Jedi Master
View attachment 46010

The egyptian depictions of gods often have a sign on their head to specify their characteristic. Isis for instance has a stone throne.

In this particular post I wanted to bring the attention to this hyroglyph I marked. The particular way the knee is accentuated and connected with an Ankh.
Yes "Nicely in the center..." does represent balance and the neutral point, Ma'at and I guess his knee and hand may be depicting an Ankh.

Incidentally, I read the other day that the Egyptians sometimes combined the Was sceptre or staff with the Ankh, which formed the top of the Was.
 

MJF

Jedi Master
You might be interested in this short video discussion (see end of that post) by anthropologist, Robert Sepehr, on the subject of both Assassins and Templars et cetera.
Thank you for this. I must confess that I have a bit of catching up to do with other threads and the one you referred to is certainly one I want to look at. Robert Sepehr does hold some interesting views as well. My sources are suggesting that the Assassins worked together with the Templars (they were both involved in the capture of Damascus), as they had much in common, and may have either given the Holy Grail to the Templars or guided them to it. The Assassins would seem to have had an ancient pedigree and may only have become moslem as it was expedient at the time for them to do so. Similarly, some of the Templars were only nominally christian and many may have harboured cathar sympathies.
 

MJF

Jedi Master
I noticed that I mistakenly repeated "paradolia", when of course I meant pareidolia.
-> Pareidolia - Wikipedia

Apparently my brain somehow mixed it up with "paranormal" without noticing.
Don't worry, I knew what you meant. Talking about pareidolia, I saw an interesting article on the famous Chauvet cave art that used pareidolia techniques on one of the images with surprising results. If it is a genuine effect, then it compares favourably with the alien face Da Vinci supposedly created using the same effect, which some have called the 'Face of Yahweh'. You may recall in an earlier posting that I showed a similar image created from his famous John the Baptist painting. Here is the link to the article and the two faces are pictured below. Has the 30,000 year old cave art of Chauvet been decoded?

1623359837224.jpeg

Da Vinci's version is on the right, Chauvet's is on the left.

Whatever you may think of the two images, it is well known that Leonardo Da Vinci certainly went in for some weird visualisations in his drawings. Here is a picture he drew of some very strange looking individuals:

1623360009136.png

Talk about grotesque. Perhaps they suffered from the Elephant Man or Proteus syndrome?

People have also spoken about Da Vinci having had a very weird experience in a cave that he seemed fascinated by (for a man who did not tend to write much about his experiences, this incident was the exception). There is also a period in his life where nobody seems to have known where he was. Ancient Alien theorists have speculated that he may have been abducted by aliens and had information downloaded into him. He was certainly a man who seemed to be born out of his time, since his ideas were so advanced for the period that he lived in. The reference to this cave though makes me think more in terms of contact perhaps with the subterannean civilisation or Nation of the Third Eye the C's have referred to. I have noted that Gardiner and Osborn in their books tend to assume a metaphorical meaning to the concept of the underworld as depicted in ancient myths and legends, where to them it just represents the subconscious mind, particularly that state called the hypnagogic trance state that Shaman seek to achieve through their rituals or mind altering drugs. However, the C's have confirmed that there is such a subterannean civilisation or civilisations and have suggested that people like Nefertiti, Sargon the Great and Mayer Amschel Rothschild, the founder of the Rothschild dynasty, may all have been products of that civilisation. They specifically referred to Sargon and Rothschild as 'deep level punctuators' with the accent on the word 'deep'. Could the same apply to our special bloodline perhaps?

I have referred before, when referencing the book The Holy Blood and the Holy Grail, to the 'Nautonnier theme'. Nautonnier is old French for a navigator or pilot who steers a boat. The answer to who or what the Nautonnier was is in fact the head or Grand Master of the The Prieuré de Sion (Priory of Sion). This was a supposedly fictitious society created by Pierre Plantard and others as a hoax perpetrated on the writers of The Holy Blood and the Holy Grail. See Pierre Plantard - Wikipedia.

However, like many hoaxes there may still be a grain of truth behind it all. Even if there was no Priory of Sion as such, there may still have been some underground movement that sought to preserve secret, arcane and esoteric knowledge, particularly during the dangerous period of the Inquisition. This movement may have been the forebears of the Rosicrucians and the Illuminati. Why do I bring this up in the context of Da Vinci. Well Plantard named him as one of the Grand Masters of the Priory of Sion. But even if Da Vinci was never the head of this fictitious society, could he have been involved in some other underground group with similar aims involving the preservation of major secrets and did his paintings and drawings, like those of Nicolas Poussin a century later, hide clues to those secrets? Did those secrets possibly include man's origins and who our creators were?

Certainly this idea will be relevant and should be kept in when I come to discuss the legends of the Tuatha De Danann.
 

MJF

Jedi Master
I was fortunate yesterday to be able to finally visit my brother's house and reclaim some of my books, including Joseph Farrell's trilogy on the Giza Death Star and Laura's 'Secret History of the World'. I have felt a bit hamstrung at times when doing my posts in not having Laura's book readily to hand. Already though it has given me some new insights.

Laura devoted a section of her book to Leonardo Da Vinci and his famous works. In particular she made the case that Da Vinci's painting of the Last Supper might be hiding a secret through the hand positions of those seated at or around the table. She argued that the hands might in fact be establishing or outlining the constellation of Cassiopaea, which, if true, would raise interesting issues around Da Vinci and those he had connections with, including Queen Marguerite of Navarre and her husband Francis I of France, her lady in waiting Anne Boleyn (future wife of Henry VIII and mother of Elizabeth I) and Michel Nostradamus the famous clairvoyant. Could they all have been involved in channelling the C's?

I also came across an interesting discourse on Da Vinci and the 'Golden Ratio' or Section in Michael Baigent and Richard Leigh's book 'The Elixir and the Stone'. They, of course, are two thirds of the team that wrote 'The Holy Blood and the Holy Grail'.

They pointed out that hermeticism indicated the interrelationship, interconnectedness and the correspondences between all things. Hence, the principle of harmonious proportion, which linked magic, mathematics and music, should also apply to painting and sculpture. The Hermetic painters of the Renaissance were all accomplished mathematicians (including Nicolas Poussin) and some of them were musicians as well. By all accounts, Da Vinci was more than just an accomplished player on the lyre. Indeed, he had crafted his lyre himself from silver in the shape of a horse's head (how interesting and perhaps revealing given the connections we have found regarding the horse's head motif). Da Vinci is apparently on record as saying 'music is the sister of painting'.

The parallel between harmonic proportions in music and harmonic proportion in spatial measurement was one of the established premises of Renaissance Hermetic Art. The famous architect Palladio said that "the proportions of the voices are harmonies for the ears; those of the measurement are harmonies for the eyes". Thus, for men like Palladio, both music and painting convey harmonies; music does it by chords and painting by its proportions. One way of reflecting this principle in art was by the depiction of perspective - objects of equal size placed so as to recede at regular intervals, diminish in 'harmonic' progression.

However, harmonic proportion in the Hermetic art of the Renaissance is particularly apparent in the frequent use of the 'Golden Proportion', 'Golden Mean', 'Golden Ratio' or 'Golden Section' as denoted by the Greek letter phi (Φ). It constitutes a means of dividing a given line so that so that each division has a specific fixed relationship to every other division and to the whole (a bit like a fractal I suppose). It was deemed a particularly felicitous manifestation and confirmation of the harmonious relationship between microcosm and macrocosm. It was considered even more significant by virtue of the fact that it could be found in nature like a divine signature in the structure of things such as conch shells, for example, whose spiral expands geometrically in accordance with the Golden Ratio.

It also bore the stamp of authority conferred by antiquity since it had consistently been used by architects and sculptors of the classical world. This would explain why Poussin spent so much time studying ancient Roman sculptures whilst in Rome. This may also explain a remark the C's once made about the secret of the Parthenon in Athens, since it was built according to the Golden Ratio. The authors point out that in ancient Egypt and Greece, the Golden Ratio was thought to be present in the dimensions of the human body, divided by the navel into the ratio of phi (Φ). This would explain 'Vitruvius Man' (previously posted above) and Da Vinci's drawing, 'Man in the Microcosm', of the same. Moreover, a building constructed according to the Golden Ratio was held to be more harmoniously suited to those living or working within it. Vitruvius, a classical Roman architect, had advocated the construction of temples in accordance with proportions derived from the human body. What would he have made of modern skyscrapers I wonder? It should be remembered that medieval Christian churches were also built and decorated in accordance with Hermetic principles, the builders being stone masons who were usually members of masonic guilds, which you may recall were the forebears of the future Freemasonic lodges.

Vitruvius Man was subsequently adopted by the Hermeticist Agrippa and Robert Fludd (a President of the Royal Society) who depicted it in a cosmic context - in a circle corresponding to the Zodiac, with astrological signs inscribed in their appropriate places. The eternal harmonious proportions of all creation were thus revealed as inherent in the miracle of the human body, which incorporated in the microcosm the divine perfection of the macrocosm.

Could such Hermetic art act though as a talisman, a form of invocation a magical act in itself? Through the use of harmonious proportion, could a painting act as a magnet, a receptacle and a conducting medium for transcendent or numinous energies emenating from the macrocosm? When concentrated and focused by the work of art, could it exert an occult influence on the microcosm of man if only subliminally or subconsciously? This may all sound far fetched but consider what the C's had to say about those disturbing murals at Denver Airport, which could induce an alpha wave state in the unsuspecting and thereby induce an hypnotic effect in those viewing them. Michael Baigent and Richard Leigh went on to show in their book how these Hermetic concepts or principles were also carried over into Renaissance poetry, literature and theatre and even to opera. In the case of the theatre, the greatest exponent of it in the 16th and 17th centuries was, of course, William Shakespeare, who may have been Sir Francis Bacon and his associates. Even the English theatres themselves embodied Hermetic principles within their design.

To keep these Hermetic connections going, it should be borne in mind that Nicolas Poussin's great teacher and mentor was the prominent Jesuit priest Athanasius Kircher, who taught Poussin the techniques of perspective. Kircher was probably the supreme representative of Hermeticism in the post-Reformation Catholic Church. Like so many Hermeticists of that age, Kircher studied and taught philosophy and mathematics. He also investigated magnetism and took up astronomy, having purchased a telescope, and in 1623 recorded his observations of sunspots. Unusually for a catholic cleric of that time, he harboured an interest in comparative religions. Indeed, he regarded Egyptian paganism as virtually the fount of all other beliefs and creeds. From our perspective, it is interesting that he believed the Hermetic corpus (body of work) contained the core of an ancient theology embraced by all peoples. Every religion, he concluded, possessed an exoteric and an esoteric aspect and in the esoteric aspects of the world's faiths, he sought a common denominator. In some ways this concept reflects the ideas of Gardiner and Osborn, who would argue that Kircher's common denominator was the arcane secrets of the Shining Ones, a wandering shamanic priesthood who had inherited their esoteric knowledge and symbolism from the lost but once great civilisation of Atlantis.

Apart from Poussin, Kircher also influenced another important figure of the age and that was the Scotsman Sir Robert Moray, one of the first recorded Freemasons in modern history. In correspondence with another person, Moray had recommended a book by Kircher on Egyptian hieroglyphics. One of Kircher's other texts was Ars Magna Scienda (The Great Art of Knowledge). This depicted on its frontispiece an eye contained in a triangle, illumined by the rays of the Deity. You may recall this device cropping up in Gary Osborn's article on Poussin's paintings. It also is a device, usually known as the Eye of Providence, that was subsequently used by Freemasonry and ultimately found its way on to the US Dollar Bill.

1623524299344.jpeg

However, despite its seeming masonic connections, the association of an eye with the concept of Divine Providence has commonly been found in Christianity. In late Renaissance European iconography, the Eye, surrounded by a triangle, was an explicit image of the Christian Holy Trinity. Seventeenth century depictions of the Eye sometimes show it surrounded by clouds or sunbursts. The Eye of God in a triangle is still used in church architecture and Christian art today to symbolise the Trinity and God's omnipresence and divine providence. Hence, Kircher's use of it on his Ars Magna Scienda should not necessarily be taken to suggest he had masonic links but it does, I think, strongly demonstrate his Hermetic roots.

The Hermetic principles learned from Kircher would therefore be carried through into Poussin's paintings, including the Shepherds of Arcadia.​
 

MJF

Jedi Master
I have been reading a lot over the last few days in preparation for some future posts. We have also had some unusually fine weather in England over the last week or so and I have therefore taken the chance to catch up with some gardening and with friends and family, though sadly we have still not come fully out of lockdown as had been promised by our government. Such concerns lie, however, more properly with the Coronavirus thread.

I thought I would take the chance though to post a few comments on certain things the C's had said about novae in the transcripts, as they are relevant to this thread. These comments also link with a book my brother has lent me on John Dee called 'The Queen's Conjuror - The Life and Magic of John Dee' by Benjamin Woollet, which is basically a biography of the man. It makes for fascinating reading and paints a picture of a complex man, who was as much an enigma in his own age as he is today. I hope to draw more on what the book has to day about Dee in future posts.

I would first quote two extracts from the transcripts in order to set the scene.

Session June 7, 1997
Q: Okay. Who are the 'philosophers of Dancar?'

A: Philosophers who ride around in Dan's car.

Q: That was a serious question! Where and what is Dancar?

A: Why do you suppose the response was light hearted?

Q: Well, come on! What is Dan's car?

A: We ask you to define as best you can.

Q: A 'car' belonging to Dan. The subject was talked about in the 18th century.

A: Yes.

Q: To what place were they referring when they talked about Dancar?

A: British.

Q: Why would they call it Dancar?


A: Locator.

Q: There is no place called Dancar.

A: No?

Q: Supposedly, Christian Rosencruetz was initiated by the 'philosophers of Dancar.' I want to know where this blasted place is! Okay, skip it. One of the Rosicrucian manifestos said: 'God has sent messengers and signs in the heavens, namely the new stars in Serpentarius and Cygnus, to show that a great council of the elect is to take place.' What do they mean by a 'great council of the elect?'

A: Pyrenees.

Q: Okay, the purported enclave of the alchemists... Why was it signified by new stars in Serpentarius and Cygnus? What do they represent?

A: Novae.


Session 5 September 1998

Q: (L) Having done my homework on supernovas to some extent,
and having discovered that either supergiant red stars are
in the process of going supernova, or supergiant blue
stars are getting ready to be ready to go supernova, as
well as eruptions of massive interstellar clouds, I note
that Betelgeuse, in the right shoulder of Orion, is a red
supergiant, and Rigel, in the foot of Orion, is a blue
supergiant, both of which could go supernova. Am I going
in the right direction?

A: You have begun to trek down the right path.

Q: (L) We noticed that the supernova that occurred in
Cassiopaea 300 years ago did not seem to have been widely
noticed by people on earth. What is the reason for this?

A: Distance

Q: (L) Now, formerly I asked about the 'two new stars in
Cygnus and Serpentarius' that were written about in the
Rosicrucian Manifesto of about this period of time, and
you said they were talking about 'novae.' But, it seems
that there are no new stars in either of these
constellations. Yet, at approximately this time, was the
supernova in Cassiopaea.

A: Yes, those with foreknowledge were looking.


I recently received an email from another Forum member, which may shed some light on the C's last comment that "those with foreknowledge were looking". I set out below the email exchange on this subject, which provides much food for thought:

"Report points to cosmic accelerators, termed PeVatrons:
LHAASO Discovers a Dozen PeVatrons and Photons Exceeding 1 PeV and Launches Ultra-high-energy Gamma Astronomy Era

Photons with energies exceeding 1 PeV were detected in a very active star-forming region in the constellation Cygnus. LHAASO also detected 12 stable gamma ray sources with energies up to about 1 PeV and significances of the photon signals seven standard deviations greater than the surrounding background.

I don't think these were known about previously... or recently.

I think of it as a hit for the "C's"."


I am not an astronomer, so whether this report is indicating that a nova is in the process of happening and may be visible soon is not something I am competent to comment on. However, the report does point out that there is a well known active star-forming region in the Cygnus constellation. This is the constellation that is particularly relevant to Oak Island, as Cygnus is the constellation that sits over Nova Scotia rather than Lyre, which covers most of the continental United States. If anybody has further information on this development in Cygnus, please feel free to comment.

To show that John Dee had an interest in stellar matters, I found a passage in Benjamin Woollet's 'The Queen's Conjuror' that demonstrates just how active Dee was in the astronomy affairs of that time.

"On 11 November 1572 the skies had lit up [....] . Dee saw it happen and hundreds of miles away in Denmark, Tycho Brahe, an admirer of Dee's and one of the great astronomers [of the age], saw it too and left a detailed account. These two men and many others over the coming months scattered across Europe were all rapt by what they saw in the sky: a new star.

On that November evening ... he [Brahe] glanced up at Cassiopeia, a constellation that forms the shape of a squashed "W", with two. bright stars, Schedar and Caph, making up the last upward stroke. As he looked up at the constellation, Brahe noticed a point of bright light suspended over the second 'V' of the constellation. It was considerably brighter than Schedar and Caph, equal to the planet Venus at maximum brilliance, which was the brightest object, after the Moon, in the night sky.

Brahe could not believe his eyes. [ ] Something was definitely there, a cosmic beacon in the midst of the Milky Way.

Brahe began a series of observations to establish the apparition's exact position - an important measurement, as to discover what sort of entity it might be, he needed to know whether or not it moved in relation to the fixed stars - like a comet- or remained stationary.

The star remained clearly visible throughout the winter, revolving slowly with its companion constellation around the nearby Pole Star. In the first weeks of its appearance, it shone so brightly it could be seen in daylight. Its gleam was described as even penetrating thin cloud cover.

At some point during this period Dee started making measurements too. He was joined by his protege, Thomas Digges.

It is unlikely that Brahe, Dee or Digges used a telescope to observe Cassiopeia, even if they had one. Their primary instruments were cross-staffs ... .

In 1573, as it began to fade, Dee and Digges both rushed out publications about their findings, which were often bound together by booksellers as a single work. Brahe, who openly praised Dee's scientific skills, may have corresponded with him about the subject and also released his findings. They sent tremors throughout the courts of Europe. This apparition, they showed, was a new star. "


Woollet goes on to describe how the discovery of this new star went to the heart of the existing cosmological order, and thus, by implication, theological and political order. Indeed, when all the implications were worked through, the new star threatened to undermine the entire basis for contemporary cosmology. This created the perfect environment, Digges observed, for alternative theories [of the universe] to be considered seriously. One in particular was the Copernicus' theory of the heliocentric universe. The passage goes into more depth about the huge impact the discovery of this nova had on scientific and cosmological thinking in Europe, as the continent moved towards the cusp of the new scientific age that would emerge in the next century, an age which leading Rosicrucians would help to foster. And Dee would play a major role in facilitating this.

Perhaps we will experience a comparable sense of awe and adopt a similar aire of foreboding when we see the supernova the C's have predicted?

As regards the 'Philosophers of Dancar' referred to in the Roscirucian Manifesto, I note that the C's adopted a very light hearted attitude when originally responding to Laura's question. In a previous post on 27th April, I noted that John Field (1520/1530–1587), was, like Thomas Digges, a "proto-Copernican" English astronomer who we discovered lived in East Ardsley, only 28 miles from Doncaster. In 1557 Dee and Field had shared a jail cell for drawing up horoscopes for Queen Mary, her husband, King Phillip II of Spain, and her half-sister Princess (later Queen) Elizabeth. However, Field was a noted astronomer of his time, like Digges and Dee. Whether Dee and/or Digges met with Field in or near Doncaster (Dancar) during the period of the nova is not known but they may at least have corresponded on the subject. Bringing Tycho Brahe into the equation, you may I suspect have some of the Philosophers of Dancar, since many of the astronomers of that time, like Dee, were versed in natural philosophy. Many of these people were in fact polymaths, unlike their counterparts today who tend to specialise very early on in their careers. Thus, the Philosophers of Dancar may have been a group of astronomers/philosophers/mathematicians, perhaps revolving around Dee and Field (who moved to East Ardsley in 1577 - five years after the nova's appearance) who chose to adopt the main claims of Copernicus' heliocentric theory and the underlying Hermetic traditions and lines of thinking that went with it.

The Rosicrucians liked to use codes, ciphers and puns in their writing, so perhaps the C's were highlighting this fact when they said "A: Why do you suppose the response was light hearted?" This was certainly true of John Dee and Sir Francis Bacon who, as spies for Queen Elizabeth and suspected Rosicrucians, had invented and used codes and cyphers in their correspondence whilst abroad in Europe on state and private business. If Bacon was, as many suspect, Shakespeare, he also used hidden codes within his plays and lots of puns. Were the C's trying to draw our attention to this aspect or modus operandi of the Rosicrucians?​
 
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