The Drawings
Here You detect all drawings ever found/discovered in any of the original diaries. However I doubt the list to be consummate, but this is as far every bit we "grailers" are right now (June 2004).
Retrieve Diary pageorder are listed under "Step 2 - Tekst and pageorder".
Some of the pics are not as clear every bit i could wish, merely in these cases You�ll find an extra link to a better resolution right side by side to the shown picture. This link is marked "EXTRA Film".
Next to the tumbnail-pic is written the text that goes with the cartoon (in yellowish) along with the comments from (late?) "Henry Jones Sr.", Spain.
You will notice some "invented" pictures that You may detect usefull, merely they are not located (as far as I know) in whatever of the original Diaries. These are marked with an (*) after the championship.
All drawing are placed in alfabetic order to make it a bit more easy to manouevre.
1899 Dollar set up: In the left page, copied from Matthews' volume, folio 29, Henry is talking about the earthly home of the Grail, the Grail Castle. Post-obit the chronological social club that I have been mentioned: what better identify than this spiritual no-man's-land, between this world and the next, at a slight remove from reality but however 'historically' attested to, for the earthly habitation of the grail, sometimes called lapis exulis, which has been interpreted as the wish for Paradise? It is precisely here that Wolfram places it, past inference if non in actuality, by making the eventual guardian of the Grail Prestor John * said to be 562 years old! The next page'southward text is also taken from John Matthews' book, this time from folio 67, and it has been repeated several times throughout the diary: The grail is flooded with spiritual light and shines out of those who seek it. The next paragraph is from folio 64 of the volume: The true and proper abode of the Grail is Paradise, the perfect realm of the spirit where the Priest King John, its last guardian reigns benignly from his castle inside the garden of Earthly Delights. The rest of the text is covered by a 1899 silverish dollar cerificate used to marking Indy's birthday, simply it can be easily reconstrcted to be Ane of the meanings attributed to the words Lapsit exillas, used by Wolfram Von Eschenbach to describe the Grail is the "stone of exile" (from Paradise) and by extension the "wish for paradise" . There is a high resolution photo of this dollar in the inserts section. An interesting note about this folio, is that in the movie order, this folio comes just afterward the Takt-i-Taqdis map set. This is a very funny coincidence because the two pages could exist hands connected. The takt-map set is only a drawing of the Takt-i-Taqdis, and the text in it is unknown, just however, it is surely talking about the Takt. So, after Henry has talked about the takt, he notes "what meliorate identify than this [The Takt] spiritual no-man's-state..." the text in Matthews does not talk about the Takt, only of Prestor John's Kingdom. However, this text would fit in the Takt background quite well.
Black Stone Floorplan This page was recently discovered in a pic sent by the owner of an original prop which was beingness sold at e-bay. At the right page, Henry retolds the Cuer story, and at the left page is a floorplan which could be of the first level of the tower of the Chateau de Vincennes, near Paris, French republic. The text besides this floorplan is from Matthews (p19): There is however some other stone that could have influenced Wolfram's conception of the Grail. This is the Black Rock, sacred to the Islamic religion, which stands at the centre of Mecca. Like the emerald which fell to globe, the Blackness Rock was believed to have been a meteorite which fell out of the heaven in the distant by. Below the floorplan is some more than text which cannot exist made out, it may exist the side by side line in Matthews: It became an object of worship until the time of Mohammed. EXTRA Movie
Crucifixion Mandala: This folio, shown in the moving-picture show during the flight to Venice, shows another crucifixion scene where Ecclesia is catching Christ'due south claret while St. Longinus watches. The picture and text are from Matthews (p15): Flemish 12 Cent. Time stands all the same in this Christian mandala, as the old and new dispensations Christianity and Judaism assemble to witness the redemptive sacrifice. Ecclesia (the Church building) raises her loving cup to grab some of the grace-bestowing blood, while Synogoga (the Synagogue), riding on an ass, bows her head. Adjacent to her is the lance which pierced the side of Christ. Notation: The movie above is a digital reconstruction of the original page. The opposite page is the same as the vertical text in the Rockslide Page: The familiar theme of quest recurs in the Livre du Cueur d'Amours Espris in the search of the Heat (symbolized by the knight Cueur) for Grace, a lady of keen dazzler. Information technology is gear up in the same sort of mysterious world through which the Grail knights roamed, and Cueur and his companion, Desire, undergo many adventures, amidst which is their discovery at night of a murky stream. Cueur drinks from information technology and pours some water dorsum from the cup onto the stone, whereupon a terrible tempest breaks. It is not until the next morning that Cueur reads the bulletin on the slab, which promises misfortune to him who drinks, and warns of the issue of pouring h2o on the rock. As in the story of the spring of Barenton, the theme is one of transformation, in both instances acquired by the application of water. Actress Pic.
Crucifiction Painting: This page is only shown while Indy is searching his male parent's ransacked house. He sees the picture in the diary then looks up at the painting on Henry's wall. This page looks to exist photocopied direct into the diary, non hand-drawn. Opposite this page is the following text from Matthews (p10): It is possible to see behind the story of Taliesin echoes of a mystery religion in which a sacred vessel played an of import office.- Maybe like the ritual depicted on the walls of the Villa of Mysteries at Pomeii (second century Advertisement) where the initiate was offered a loving cup prior to undergoing tests which, if successfully completed, would impart to him the tenets of the inner life. Perhaps an alternative to a mystical feast echoing that partaken by the Grail Knights. ie Kernos Note: This is the same text equally shown opposite the Map of the Mount Road page which contains Adolf Hitler's signature. This motion-picture show was originally taken from the Book of Hours of Yolanda de Lalaing (c. 1450) and is Flemish in design (thank you Drakh). You can meet a browse of the original here. The picture is likewise featured in the book Consummate Guide to Illustration and Design by Terence Dalley and is avaible at Amazon.com.
De Borron Gear up: This page is shown on the back of the 1989 Last Crusade computer game. It is shown opposite the temple map with the falling rocks. The text at the pinnacle is incorrectly copied from Matthews (p11): Robert de Baron was the first of this ??? writers to add significantly to the Corpus and by the time his Joseph d'Arimathie appeared in virtually 1190 The text continues at the lesser paragraph... The Grail had become firmly identified equally the cup of the Terminal Supper and the vessel in which Christ's blood had been defenseless. The beginning function of this should read: Robert de Borron was the side by side author...
Beneath this is: Seen at the same fourth dimension as the window illustration and to the right of the knight is: Cup held by knight at the 2nd (Pillar?) from Left These few words cannot exist read conspicuously.
The picutre shown in a higher place is a digital reconstruction of the original page. The Larger version was made from a cartoon traced from a scan of the original, obscured page.
The epitome in this page could a modified cartoon of the Shrine of St. Peter the Martyr, in Rome. At to the lowest degree one of the columns would have been inverse to become the knight shown to a higher place. The statues at the very acme accept also been changed into simple crosses. EXTRA Motion picture and another i Actress PIC.
Dead Sea map : The text in the left page is the same every bit in set 3 (The story of Lycurgus) In vertical text, "The path of the grail is inextricably bound upwards with cede. The blood of the victim contained in the cup wich becomes the means of healing" above the shield, which has the cruciform sword in information technology, the story of Lycurgus continues from "Lycurgus, in a fit of madness killed his son Dryas when he mistook" In the sword, the text reads: GOD IS LOVE. Adjacent to the shield, there is an arrow pointing to it and the words Shield from southward trancept. Then, below the sword, the text continues as in set 3: The theme of cede is shown by that of spiritual attainment, whether through imbibing claret or the sacred beverage of Eluesis from the Kernos. Each of its 8 cups contained one of the elements of the divine draught .
The map in the side by side page is of the southern region of Judah situated around the Dead Body of water, located most 1300 anxiety below the Mediterranean Sea. The height of this map would be pointed roughly NorthWest (in other words, a compass rose would be pointing toward the upper correct corner if situated in the heart of the map). Several place names are given: Maderah, Weljeib, Buseireh, Jebal and a Roman Route is situated in the eastern portions of the map. A couple of the place names are illegible, one of them running right into the binding of the book. Again nosotros have a quote in the Computer Game Diary where Henry's traveling to the Holy Country is mentioned. This page could be placed there if following a logical social club. Resently there was a "full map" discovered. However the source is not all clear, and it is only in a low resolution, but You can see it hither. The text on this one goes appx. like this starting from top : AIN GADIS, JEBAL MAGRAH, WADY EL ARABAH, PETRA, MOUNT HOR, SHRAG ER RISHEH, MT SEIR, MAAN Actress Film.
Franciscan Friar*: An invented moving picture showing a stained glasspainting of the franciscan friar who was tolded nigh the location of the grail. I�ve added some clues and so that Henry actually would take constitute information technology worth while to do the copy. Rembember he didn�t do information technology to have something nice to await at - no, he did information technology to file all clues and teories he came across. The text goes: A discription? and The franciscan friar heard about the whereabout of the Grail.
Galahad, Perceval and Bors*: These where knights at Rex Arthurs courtroom, and was the knights that finally saved Camelot and King Arthur himself by finding the Holy Grail. The text is my invented and it goes: The finders of the Grail: Galahad, Perceval and Bors. Their concluding meeting in this earth. EXTRA PIC
Grail Mass & Belly button: The commencement of these two pages contain a print of what looks like a stained glass window, which is, as of yet, unidentified, although it seems it is a depiction of Ecclessia, a women symbolizing the Christian Church. For more on this click here. The text besides it comes from The Grail: Quest for the Eternal, page 14: In the Quest del Saint Graal at the moment when Galahad enters Sarras with the Grail, the text refers to the Mass of the Mother... a few other words can exist seen in the archives photo. Past using the original text the entry tin can be reconstructed: ...of God being sung in the cathedral. Specifically to "Mystery of the Grail." Possibility of a Marian Grail cult at Glastonbury connot thus be ruled out. The insert accompanying this page contains a light pencil sketch of a land feature, similar to the canyon on the "map with no names", and a half drawn Brotherhood cantankerous. To find out more nearly this insert, please caput to the Inserts page.
The contrary page is copied directly from Matthews (p31). The picture is a drawing washed by Fifty.I. Ringbom in 1951, an anachorinistic image in this diary, every bit the quest was completed in 1938. Information technology seems that the cartoon was photocopied and enlarged, into the book. The text is hands read as: The Omphalos in Jerusalem. Representing the centre of the Christian world as a vessel containing a stone. Extra Motion-picture show
Grail Vision*: This is one of mine invented pictures. I feel it catches the feeling Henry Jones Sr. discribe when he talks about his vision about the grail - the vision that leads him to a lifelong pursuit of this relic. The text that follows information technology is the words from his vision: Henry Jones, equally Knights of quondam sought this treasure, and so shall You lot
Gulf of Aqaba Map: This folio was as well sent past the seller of the Grail Diary auction. It shows another map of the Dead Sea region, with the Gulf of Aqaba near the bottom and a niggling of the Mediterranean Body of water in the upper left corner. The text on the opposite page is from Matthews (p28): For here we have all the elements of the Grail story: the temple on peak of a mount surrounded by water, the vessel containing a sacred relic; miraculous events which accept place regularly at the aforementioned time; the blessing received by those who are truthful adherents, and the dire effects upon those who are not.
Fifty-fifty the twelve monasteries around the lake are reminiscent of the Round Tabular array with its (originally) twelve seats.
The vessel surrounded by chains recalls the magic bowl in the Yvain story, which caused a tempest when water from it was poured over an emerald.
Iron Cross: As Indy flips through his begetter's diary, this page can be seen, showing a close up view of the stained glass window shown in set 11. The text on this folio can be read clearly from ane of the photos of the prop. In a higher place the fe cross is written: Based on Maltese pattern. At the top correct is: Very like stained glass window. Below this sketch are the words: Shows particular of forepart confront of a church which has four bong capped pillars joined by Norman arches - steps backside leading to upper gallery.
A. Shows deatil of cantankerous
B. Bell capped pillars
NB: I am not certain what folio is to the left of this folio. In the Williams Collection prop it was a repetition of the Knight with the cup page, but information technology seems that in the prop used in the scene where Indy opens the diary, it is most certainly text, so another folio from the diary has been used in this reconstruction.
Jesus and the Grail*: This is a picture showing Jesus with the Grail. Information technology fits into the Diary, equally Henry need to get all the information about WHAT the Grail really are. Therefore he writes: Grail image xiv th Cen and Notation: Plain ordinary cup .
Josephus with the Grail
This page is seen briefly when Indy is searching for the Venice Stained Glass Window at the Venice Library. There are three or four lines of unknown text on top of a sideways drawing, most of information technology blackness, with a central figure. Co-ordinate to Tom (...whiskey?), this folio's comes from Matthews, pg 71, and represents Josephus, the son of Joseph of Arimathea, giving the Grail to King Alain, its tertiary guardian. It seems that the drawing is on the center of the page and there are two or three figures while the rest is partially obscured. Also, this drawing doesnt seem to represent the entire image from Matthews, but a cropped version.
Knight with cup & Melchizadek: On the left page, we see another knight, shown abreast a ciborium of some sort covered in low relief scenes. In the upper left corner is text from Matthews (p13): The just actually significant medieval texts to succeed Wolfram were the bearding Perlesvaus C1225 and in the upper right corner continues more from the aforementioned folio: In particular there is the statement (mysterious) that the Grail undergoes five (five) changes in shapes of which merely the fifth a chalice is named. The text continues: Malory, who is the concluding of the true medieval romancers wrote what is probably the nigh famous Arthurian work; simply his concerns were very different from those of his predecessors. Written to the left of the knight is: Note: the same style of chalice on the knights shield as the i found in the temple by me.
On the next page, we see a picture from the window in venice, this time of a adult female belongings a book, although the text accompaining this cartoon talks well-nigh melchizadek, who was not a woman. At the base of the cartoon at that place is a number (VXI) with no sense, as it means 5 before 11 which is half-dozen and could hands have been written as VI. This is probably a mistake of the prop man. The text is: Window Melchizadek foreshadows Christ in his offering wine as the token of his peoples blood. He, like the guardian of the Grail, is a priest and a Rex. St. Paul says of him that he is without father or female parent or even genealogy and had neither beginning of days nor finish of life (from Matthews' book, pg 69).
Knights of the Quest & Defender of Faith: On these two pages are drawn a few knights who quested for the Grail. On the first page is a stained glass window (origin unknown) of two knights with a sword between them. In the upper corner is written: Window particular detail from the Nave, suggesting that this window was found in a church. A little lower is written: the two Knights announced opposite each other. Above the heads of the knights are scrolls with writing that is illegible in the diary. At that bottom of the window is: Corpus Christi (Body of Christ). Written at the bottom is text from John Matthews' book (p29), modified to fit with the cartoon: Once once again nosotros see the addiction of following the Eastern sources and rituals by placing the two knights in a Christianized framework.
On the contrary page appears a typical medieval representation of a knight. Above is a shield with a cross circled and labeled Maltese symbol, and abreast the shield is noted the Turkish Crescent. Beneath the shield is more Matthews text (p7): Only 3 succeed in finding the Grail. To which is added: This is one of the participants . The "three" refered to past Matthews are Galahad, Perceval and Bors. Above the knight'due south right shoulder is a notation: design of breast plates, besides a delineation of some sort of rod is: Defender of the Faith, and below this is: Probably 15th Century
Leap of Organized religion: This version of the "leap of religion" drawing has been seen in the Williams Drove and Christies props. Perhaps Henry showtime drew this pencil sketch and in the side by side pages he drew the detailed double spread. This version is, however mine, equally the original scan is very poor! To the left is The Trap.
Lycurgus & Falling Rocks: The first page contains some quotes from Matthews, pg 74&75: The path of the Grail is inextricably jump upwardly with sacrifice: the blood of the victim contained in the cup, wich becomes the means of healing. Lycurgus, in a fit of madness, killed his son Dryas, whom he mistook for a vine stock, and his state became arid in mourning. It was only when Lycurgus when lycurgus what? This paragraph is from Matthews' volume (Quest for the Eternal) the book says: "It was only when Lycurgus himself was brought to his death that the land flowered over again" Henry seems to take a very bad mind, bad plenty to go out a sentence incomplete and start writting in the next paragraph about a unlike thing, as well from Matthews, pg. 75 "The theme of sacrifice is shown (the book says shadowed) by that of spiritual attainment, whether through inbibing blood or the sacred drink of Eleusis from the Kernos. Each of its eight cups contained one of the elements of the divine draught . At the next page, at that place is a drawing of a canyon and temple, and the text to a higher place the drawing says: Drawing I have made before passing through the stone obsticle encountered at the far end of the valley. Yous can get ten or 11 paces. There are some rocks rolling down the cliff face. At the bottom, Henry quotes Matthews' book (pg. 68) The grail had many precursors and takes many forms before it becomes identified with a chalice.
Map of the mount road: In the left page, Henry talks about the story of Taliesin, connected to the Mystery religions. Information technology is interesting to annotation that the Computer Game Diary mentions Taliesin in an entrie when Henry is in the middle of an excursion in Wales. This page could be easily connected with that on the Computer Game Diary every bit Henry, in the opposite page mentions some kind of circuit and again this "we" (In the Figurer Game Diary is Marcus Brody) The text in this page is: superlative of left folio, in diagonal: Information technology is possible to see behind the story of Taliesin echoes of a mystery faith in which a sacred vessel played an important part--- After that, in normal, horizontal text: Possibly like the ritual depicted on the walls of the Villa of the Mysteries at Pompeii (second century AD) The words "2nd century Advert" are underlined 5 or six times. Afterwards that, where the initiate was offered a cup prior to undergoing tests wich, if succesfully completed, would impart to him the tenets of the inner life. And and so, the concluding paragraph says: Possibly an culling feast echoing that pertaken of by the Grail Knigths. ie Kernos . All this text is copied with some modifications from Matthews' book, pg. 10. The contrary folio also supports Indiana Magnoli's theory that there seems to have been some sort of excursion where Henry, presumably along with some others (as he e'er refers to "we"), maps out their progress. In this map of the mountain road Henry and his squad reach the stone wall. In the eye of the folio, between two arrows, Henry notes that the Depth of the rock hither is almost unpassable and at the bottom, wall of rock that confronted united states of america during our progress upwardly the mountain road beyond the outset overnight stop. This is besides the page where Hitler signed the shorthand at the Berlin scene in the movie. Bank check this link if Yous want the autentic signature. Click here.
Map showing hidden Temple: This map is seen in the Diary during the flying to Venice. To the right we see another text from Matthews. To the correct it says: Y'all can go about 15 paces. And: The Grail temple is hither across the rock obstacle. In the buttom information technology says: Cartoon of the stone obstcale that may be encountered at the far end of the valley.
Map With no Names: Interestingly, the famous "map with no names" does non appear in the archives book. It is a shame considering there is clearly writing on this page, but it is non shown well enough on screen to read. The description given by Marcus Brody gives as much information about this page as does the stills from the film. In that location is an oasis with a river running southward through a range of mountains to a crescent-shaped canyon (although it looks more like a crescent-shaped mountain in the sketch).
Using the prop photo at the right and some scans from the movie, some text has been reconstructed. The text in the upper right corner of the right page looks like: Due East from the great Oasis, three days southward to the foothills of ? The text that covers the bottom portions of both pages looks to be something like: Two days beyond the Salt desert to the tiptop rock that is Due north East to the plain and these two peaks pass to the Coulee of the meridian rock
There is also more text in the opposite page, equally seen in the screenshot at the left. This text is unknown, and the one used in the reconstruction shown above was invented past Indiana Magnoli, and is: Western declension of an unknown desert. Nearby is a city mentioned by the knights. And near the heart of the page: canyons and mountains.
Obstacle & Cruciform Scrap: This is another of the "rock obstacles" pages in which Henry continues his trip, although some of Henry's words seem to imply that this was the get-go of his excursion. In the commencement page Henry has drawn a topographical map of a valley with a narrow pathway leading to some structure almost the eye. At the meridian he notes: This very quick sketch map was made past me during the last days of the month . He points out near the pathway: many obstacles are apparent here and he gives his thoughts at the end of the entry: I suspect a lake or dam will protect the archway to the final pathway simply this will merely be evident when the stone wall has been breached
On the next folio, There is a sketch of a piece of paper. At the top, This fragment is kept with many papers and maps . In vertical text, This sketch is the same southwardize. Next is the post-obit paragraph: I establish this fragment in one of the books and amongst the papers and maps in the old trunk. I'm certain there is a connection with my previous discoveries which could well be a key. And then, in that location is a Note I could say the design is repeated.
Prester John *: This epitome has been used by several replicamakers, and it fit right in as Prester John was the gardian for the Grail.Prester is an old word for priest.
Prester John (office): This image is a part of the above - just that is has been digitally modified. And this flick was across whatsoever doubt a function of the Diary. Information technology can be seen when Henry read onboad the zeppelin. Clik here to see.
Rock Slide: On this partially obscured page is shown another stone obstacle (Henry seems obsessed with rocks). The text on this folio is from Matthews: (p67) The Grail is flooded with spiritual calorie-free and shines out to those who seek it. (p64) The true and proper domicile of the Grail is Paradise, the perfect realm of the spirit where the Priest King, John, its concluding guardian reigns benignly from his castle within the Garden of Earthly Delights. 1 of the meanings attributed to the words "lapsit exillas," used by Wolfram von Eschenbach... it is not articulate how much more than text is on this folio considering of the inserts. In the corner is the word: Unpassable. There are also a few numbers pointing to the rocks, but at that place significange eludes me.
This digital reconstruction will give you an thought every bit to what the full page may await like. The stone obstacle is probably sketched right across the page. Click on the picture to see a larger version of the reconstruction. On the left page is the story of Cueur, retold past Matthews (p61): The familiar theme of quest recurs in the Livre du Cueur d'Amours Espris in the search of the Heat (symbolized past the knight Cueur) for Grace, a lady of groovy beauty. Information technology is set up in the same sort of mysterious world through which the Grail knights roamed, and Cueur and his companion, Desire, undergo many adventures, amidst which is their discovery at nighttime of a murky stream. Cueur drinks from it and pours some water back from the cup onto the rock, whereupon a terrible storm breaks. It is not until the adjacent morning that Cueur reads the message on the slab, which promises misfortune to him who drinks, and warns of the effect of pouring water on the rock. As in the story of the spring of Barenton, the theme is i of transformation, in both instances acquired past the application of h2o. Note: This last sentence is not included in the reconstruction, equally it was recently discovered in a photo of the prop where this page is not obscured by any insert. EXTRA PIC
Stag & Top of window: In the first page, there is a drawing of a depression relief stone sculpture copied past manus from Matthews' volume, pg. 65. The text is also from that folio. On the top-left corner, Sketch made on site . and on the right corner, Stone Relief, Italia 9th 10th Cent. Advertizing Nigh the drawing of the stag is Inscription, although there is non an inscription in the original etching, and below it, are the words The Grail is the Spring of life, the vessel containing the promise of immortality. From it drinks the stag - simbol of the soul's thirst for god . On the adjacent page, in that location is a sketch of a stained glass picture of Christ which seems to belong from the same Venice Stained Drinking glass window. It belongs to the top of the window, a part which is non very well seen in the moving picture. To a higher place the drawing is written 14th Century Windows, the same date given to other representations of the window. Below is text from John Matthews' volume (p16): Christ redeemed the sin of Adam; new light and life is independent by the "Grail-as-Chalice" image.
Stained glaswindow: This picture is partly seen in the "libary-scene" where Indy check the diary. The edge to the left is without any doubtfulness the one from the upper function of the stain window in the Venice Libary. Actually the all window is fatigued in the diary, but being a vital part of the plot this comes every bit no surprice. The picture is traced from the DVD�due south. The text is yet to come...
Stone Face: This folio is only seen briefly in the moving picture, and seems to represent a stone face and some latin scrolls. It appears to be some sort of etching of a knight'southward head with Latin texts, this Latin text is very difficult to make out; the 1 on the upper left looks like "cam laude" and below the knight's head may exist "...dignus...". . However, there is text well-nigh the rock face and most the middle of the folio. Indiana Magnoli has been able to read some text on this page: T... p... a ritual... and Chris Llewellyn has been able to read the text in the centre part of the page, which without dubiousness comes from Matthews, pg 81: Grail quest is the death of the physical body and the rebirth of the spirit into everlasting life.
And, a few words before this, in Matthews there is Tibetan skull mounted and provided with a hat is used as a ritual object. So this could be probably the text at the top of the page.
I take no idea what the text in the left folio is so I have left information technology blank for this reconstruction. For the cartoon, Chris Llewellyn's version has been used. Extra Picture show. And a high-res in a slidely unlike version.
The Sword: This picture is i that is featured in the CG-Diary, and information technology�s a cartoon that fits in virtually everywhere in the Diary. In my version I have added following: The maltese knights take ever been a key figur in the legend and history virtually the Grail. And at the buttom: I practise feel the fundamental is to be institute in the infinite around the crusaders. This was inspired by the malthese cross to the lower left.
Takt-i-Taqdis & Sainte Chapelle: These pages contain some information on the architecture of the Grail Temple. The get-go page shows the three orders of Greco-Roman columns, Doric, Ionic and Corinthian. On the left of the page is written: The detail types of columns invented by the Greeks and Romans together with the lintels, caps and bases over them . Beside the Corinthian columns is written: Drawn by me at the temple of Takt-i-Taqdis; and beneath them text from Matthews (p82) slightly changed to: Equally long as it remained on earth, the Grail required a home and because of its spiritual nature that place was naturally a temple. Below the columns is a lightly drawn floor plan of a typical medieval church building. This is supposed to correspond the legendary Dome of the Grail and the celebrated Takt-i-Taqdis, both discussed in Quest for the Eternal. The flooring plan for Takt-i-Taqdis is circular and looks nothing similar what is depicted here. In the bottom-left corner is: Note Takt-i-Taqdis with its numerous arches laid out in a detail guild. And to the correct is: The Dome of the Grail footing program. The appointment given to the plan is 18th C. probably from the height and footing plan past Sulpice Boisseree in that century.
On the opposite folio appears a drawing from a medieval engraving of the Great Shrine used to house the Crown of Thorns at the Sainte Chapelle in Paris. Some of the background of this motion-picture show has a imperial tint to it. The text to the right of the sketch is from Matthews (p67): The Grail is flooded with spiritual light and shines out to those who seek it. Yet similar the treasure at the base of the rainbow, it remains across mans grasp. The note reads: Decoration of the pinnacle of this domicile (not?) seen (elsewhere?). Lower text is from page 65: The Grail is the spring of life, the vessel containing the promise of immortality. Symbol of the soul'south thirst for God. A Cornocopia, the horn of enough and of physical renewal. On the far left of this page is a partial text from Matthews that has been cropped in such a way to leave the reader with a wonder about Henry'due south train of idea at the time. The text, as it appears in the diary is: In Greek myth the star represents Uranus considering he was castrated. So? The text was taken from Matthews (p67) and should read: In Greek myth, the star represents Uranus because when he was castrated, drops of blood formed themselves into stars and were dissipated into rivers and streams. Information technology seems henry had a very bad memory, as he has left unfinished sentences throughout the diary. Extra PIC. The church-floorplan is a bit difficult to trace, merely this will assistance Y'all out.
Takt-i-Taqdis at the Center of the World: Early in the diary is this epitome of Takt-i-Taqdis as the centre of the world, drawn by Lars Ivar Ringbom and shown in the Matthews volume (p82). The text higher up the map is: Then long equally it remained on earth, the Grail required a home, and because of its spiritual nature, that place was a temple. Below the map: The history of the Grail temple is a complex ane, involving many unlike images, among them that of the earthly Paradise. In 7th century Persia the Sassanian ing Chosroes Two built a temple worthy of housing the relic of the True Cantankerous. In ane of the original prop diaries this folio is shown opposite the "What better place..." Actress Motion picture.
The 3 Trials : These are very important pages for the plot, and probably this is the reason why they are the all-time seen pages in the film. Heny likewise gives importance to them, and he bookmarks them with one of the two Los Angeles Railyard Tickets contained in the diary. They requite the clues almost the iii trials that protect the Grail. On the offset page is written:
Tres numero erunt probationes (the challenges will number three)
First, the jiff of god - only the penitent human volition pass
Secunda, verbum Dei (2nd, the give-and-take of God) just in the footsteps of God will he go along...
The text continues the text on the next page. This is ane of the few pages in which the left folio has something to do with the correct i. The text in it is: Tertia, semita Dei (3rd, the path of God) Merely in the leap from the lion head will he show his worth. Then, there is the drawing of a cup and below it, the words Poculum Lignarii (The cup of a carpenter).
The Tree Trials and Knights: This is too a very importent picture, as Indy uses it towards the 3. trial (Bound of Organized religion). The text is: The path of the Grail is inextricably bound up with sacrifice. And in the buttom: Tertia semita Dei (Third, the path of God). However just under the walking knight is a text that nobody has been able to decode all the same. Non even the release of the DVD�s has been able to provide any assistance. On the right side: Each of the viii cups contained i of the elements of the divine draught.
The Trap: Again we have a drawing from the CG-Diary. It shows the divice that makes the first Trial a quite deadly 1.
Triangular Floorplan: This page is shown briefly in a couple scenes in the film. On the left page is clearly written text from The Mabinogion, which is taken from p28 of Matthews: A fountain with marble rock effectually it, and a gilt bowl fastened to four bondage, the basin set over a marble slab and the chains extending upward and then that he could see no end to them....
he walked over to the basin grasped it, but every bit shortly as he did so his easily stuck to the bowl and his feet to the slab he was standing on, and his speech was taken and then that he could not say a single word. In that location he stood.
The right folio shows a belatedly-period Roman Corinthian cavalcade, a triangular floor programme, an unknown drawing, some sort of stone relief with three crosses and what looks similar a corbel. The text on this page is quite hard to make out, but nearly of it has been read recently by Indiana Magnoli.
The text in the top left corner seems to be something similar Detail of the decorated style of capitol using a naturalistic leafage or vine ornamentation . (Note: This text has just resently been remade, so the text shown on the photo is not correct!) To a higher place the relief with 3 flowers on it seems to be symbol from wing . The text virtually the floorplan may be, in function, from the fifth page of Matthews: The Grail became firmly entrenched in the imagination, the triangular shape with a round tower at each corner symbolizing the Trinity, God the Father son and the Holy Ghost. At the left of the floorplan, pointing to it with an pointer, there is some text which seems to exist kind of a corbel arching.
The Tunes to open the tomb: Realizing that this hardly could be a picture show, I�ve added it anyway. It is the notes that is talked about in Sankt-Gallan, Switzerland September iv, 1920. At that place has been some talk weather Henry would have fabricated the note on a napking or written it directly into his diary. I belive that Henry carries his diary/notebook anywhere and then why write on a napking when You diary is correct at manus. Even so if You prefere the "napking-way" Y'all have a new insert. The same goes for the lyric in the "Regal Dragon" July 27., 1920. Hither Y'all have an insert if You belive that Henry left his notebook at dwelling before going to the inn. Over again I belive not - he had his notebook and he used it. The notes is, by the way, from a Beatles-song.
Two Knights: Again this is a resently discovered picture that was transport from same source who brought an original Diary on East-bay. It is clearly a office of the stained window as seen on " Knights of the Quest & Defender of Religion". The left folio writes: Galahad the stainless, virgin knight who was one of only three that
suceeded in finding the Grail and participating, to varying degrees, in its mystery.
And to the right we have: In one case again we see the addiction of post-obit the Eastern sources and rituals by placing the two knights in a christianied framework .
The Venice Library: As Indy Said, X marks the spot! This double folio image shows the whole room in venice, with the window and the Ten. The vertical text at the left seems to have been copied and modified from Matthews: For here we have all the elements of the Grail story. The stained drinking glass window is the concluding cardinal to the mistery The numerals must be the inkling which we have long searched for in vane. Below the first set of columns is The stained glass window that requires farther research. and pointing to the final stone king of beasts, The lions refered to past the Knights This is quite a strange note, and although it is known that the moving-picture show prop had absolutely no lodge, if the pages were to be placed post-obit a logical, chronological guild, this page will be probably near the end of the diary, I fifty-fifty think Henry drew this page at Venice, just before sending the diary to Indy, peradventure to requite him some clues on where to find the catacombs. This would explain all the notes in this page where Henry talks about "we" and gives data on what to inquiry.
The Venice stained glass window: This is an of import folio for the plot. We can see Henry copying it at his 1912 house from a manuscript. At the left page we see a cartoon of a crusader in a stained drinking glass window. The text says in the upper corner: function of stained drinking glass window in venice 14th C. Information technology is probable that this note was added later equally Henry knew of the window in 1912 and started to suspect well-nigh Venice in 1938. At the left of the window information technology says a office of the Franciscan friar's manuscript mentions the knight of the Grail... possible link? opposite to information technology, near the shield, note the crosses on the shield and at the lesser, with an arrow, words in latin. note fig 7...marker?
In the next page we encounter some roman numerals, a stone lion, a knight, and a detail of the shield. The text most the three (III) says Part of a decorative scroll in a 14th Cent. Manuscript with a note beside this particular number three. Adjacent to the vii (Vii): in some other section of the same manuscript, this number 7 is marked and before the 10 (X): in rock. Between the X and the lion are the words 12th Cen.?? and below the lion: upper floor supported by stone lions above the shield are the words On a window in Venice This night appears with shield quartered showing the Cross. Again we take an anachronistic note. In that location is a possibility that the whole room was depicted in the manuscript Henry was copying from in 1912, and that this annotation was also added later.
Wilderness of the Wanderings: On this folio is shown the very bottom of the stained glass window, although different Roman numberals are used: Xviii, X and XXXII. To a higher place the 18 is written The number must take some reason of time or space and below This is 18. Next to the V: could hands have a sing (atypical or single?) particular reference Beneath the XXXII is simply 32. This page also shows Henry attempting to work out the mystery of the Roman numerals; in the upper right corner he adds eighteen, v and 32. After writing 55, he crosses it out.
The adjacent page seems to be some other of the "stone obstruction" pages which talks about Henry's excursion. There is a map, labeled This Wilderness of the Wanderings, supposed to be an old map found by Henry. He has copied it into his diary as a reference: On coming in from Alexandria. This old map may be of help- topography could have contradistinct. He points out by a dotted line: This could be an obstruction. Is this the stone wall? A path is likewise shown leading past some steps into a smaller pathway. Beside another dotted line Henry writes: Route taken at the concluding endeavor. Could this mean that the map had come in handy and this was the route the used during this excursion?
The Window: This is a picture originally from the CG-Diary. I have, notwithstanding, added some small-scale details that makes it relevant to put in the Diary at all. The text is: The Cross could be or point out a connection - Must investigate in Italian republic and Annotation the Cantankerous. On the other page: Cross! Run into the original picture here.
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