Dowsing the Dragon by Colin Bloy ~ Chapter 7

For some time before March 1977, the thought had been nagging at the back of my mind that I should visit Rome and especially St. Peter's. After an experience with Cleopatra's Needle and knowing also that the obelisk from Karnak in the Place de la Concorde was in the system, the fact that there is an Egyptian obelisk in front of St. Peter's was a matter of interest, if not concern. A quick flight, a Hertz car, and I was in St. Peter's Square two hours later. On the way up the Via della Conciliazione, the avenue, flanked with obelisks of this century, that leads up to St. Peter's Square, I picked up a 7-bar line. This was odd, because after the experience at the Great Pyramid I felt certain that St.Peter's would be on a 49-bar line and that it would come down the Via. But not so. Parking the car, I approached the obelisk. N-S it was on a triple line, and E-W, a 7-bar line. The obelisk itself is within a double circle. I could dowse the 7 circles. However, when I enquired as to the name of the earth spirit, all I got was DE, and then when I asked for the higher intelligence, I was given an empty circle. In asking for the Elohim symbol, it came up barred. I enquired whether I should take the usual action.

Instead I went to the Basilica itself only to find that it was closing time. However, on the first large area in front of St. Peter's, I found in the stone the now familiar symbol picked out thus: (*symbol) In the very centre were the 7 circles again in dowsable form. It was then that I carried out the necessary invocation. The double square symbol came up at that point, and all around the square was the 49 square-square, the same one that had been produced in our flat in Madrid when the Pope had pronounced 'Urbi et Orbi' at Christmas 1975. I then asked again for the name of the presiding earth spirit and was given IFOR. It occurred to me that DE might have been the evil counterpart of IFOR. this was confirmed by Elohim. when I asked for the presiding superior intelligence, I was given TETRAGRAMMATON, as at Silbury, and when dowsing the Spear in Vienna.

I returned to the obelisk and perused the inscriptions.

All of which adds up to the fact that Pope Sixtus V erected the obelisk in 1586 and consecrated it with a cross on top, containing part of the True Cross, to rid it of its impure superstition and the impious cult of the people of DIS - the land of the underworld. Well might one ask, why? What on earth is such a thing doing in front of the prime church of Christendom? And in the system? What did Sixtus V really have in mind? It can be used as a sundial as the northerly line has the signs of the zodiac measured out in the appropriate symbols in stone, the solstices of winter and summer being marked at the point where the noon-day sun casts the tip of the obelisk's shadow. I returned to the obelisk and asked for the name of the intelligence of the obelisk. THOTH appeared which was not surprising. He appeared pleased at what had been done. However, I still had not discovered any 49-bar line. I checked the obelisk again and it was the same as before.

So I took the car and drove round the walls of Vatican City. As I approached the southern sector of the Basilica I found it. My slowing down of the car to check the number of lines brought about my head the wrath of impatient Roman drivers. Joshua did a better job at Jericho. Nothing fell down. Proceeding around the walls, I found various other lines of minor significance, but one certainly passed from the mast of Vatican Radio on a line to another radio or T.V. mast on the next hill. Completing the circuit, I did not find the other end of the 49-bar line until the very last moment. It emerged a few degrees north of the Via della Conciliazione. I parked the car again and checked it within the square. It fell within a sector I had not previously dowsed and, following it back, it went straight to the main entrance to join the 7-bar line just below the window where the Pope pronounces his "Urbi et Orbi". In following it the other way, it went directly to the Castel San Angelo or Mausoleum of Hadrian. In making a circuit, I found it continued in a sharp southerly direction to the church of San Giovanni dei Florentini, from which I was able to follow it to the Piazza Navona, in which there is another obelisk of Egyptian origin, this one with hieroglyphs, the work of another pope. It was in the system but not on the 49-bar line. It was blocked and I invoked its unblocking. The 49-bar line went to a fountain to the north from which I was able to follow it to the Pantheon. There is another obelisk in front of this, but although it is in the system the 49-bar line does not go through it but straight to the Pantheon. The obelisk was similarly blocked off but I was able to clear it, hopefully.

As it was getting late, I had a beer and checked in at my hotel in the Via Veneto, a street which represents the other face of the Holy City. I went to a solitary dinner in a cafeteria and fell to pondering, particularly as the 49-square square was all over the place. What on earth was I doing? Had I gone mad and was I suffering from delusions of grandeur or some form of religious mania? Here was I wandering around the square of the principal church of the Christian world, making invocations producing apparent symbols all over the place, and interfering with the system, if indeed the system was not part of some huge convoluted delusion. Now half a bottle of good Chianti can be a comfort in such situations, although the cynical reader may consider it otherwise. I reviewed in my mind all that had gone before in the previous three years. Was it all part of some delusion? Was my apparent dowsing ability a wish-fulfilment and the impatience I had felt as a would-be politician? Was it being manifested in some fantasy on a world-wide scale, in which I conceived myself a s a significant figure, merely to satisfy these frustrations?

If the existence of the ley-system were a fantasy, then it was shared by various people, some of whom had committed themselves to print on the subject. It was also shared by friends I had made during this period, most of whom had been able independently to dowse the lines. On an empirical basis I was prepared to be satisfied that the system had been proven. Too many tests had been made. But what of the Grail Stone, the Elohim connection, talking to earth spirits, and all the rest of it? This could stretch credulity too far. And if all this were fantasy, it was a better constructed fantasy than I had any right to expect of myself. It was a fantasy that continually received confirmation from people more expert in aspects of occult lore than I. Indeed after I gave the first of two lectures, an expert Kabbalist, now a firm friend, said, "I thought when you started you were telling a fairy tale - but since then my jaw has not stopped hitting the floor. Everything you have said - its symbology makes perfect Kabbalistic sense - it's incredible. I cannot fault anything." The feedback that night had been extraordinary - people were able to supply correspondences with other things that made perfect sense.

Incidents flowed through my memory, and I became again disposed to the view that I was dealing with something real, if not the reality I had been accustomed to. Accordingly I went to bed and rose early to visit the Basilica of St. Peter. On the way I found a 7-bar line from the residence of the Pope, whence he is accustomed to appear to great crowds on lesser occasions on the north side of the square. It joined the main line out of the entrance. I had been to St. Peter's twice before, but never with quite the same feelings or 'knowledge'. The 7-line went all the way down to the main altar above the supposed tomb of St. Peter. I began to explore the Basilica. There are various symbols repeated in stone all over the floor. (*10 symbols) Around various of the side altars were circles with 8 or 16 point stars, and the octagon predominated. Why, I wondered, was 8 the key number of St. Peter's in its decoration? The number of the infinite? The octagon, however, in my experience has something to do with power over people, used extensively by Charles Vth in his works. It seems potent in this respect. 8 is the key number in the floor of St. Peter's. All the circle symbols had seven dowsable circles in them. 7 seems a less aggressive number.

I approached the tomb of St. Peter and the Papal altar. Within the 16 point star that surrounds it I picked up a dowsable 7 circle configuration. As I ambled around following the circle, the rod suddenly opened, indicating a gap. Perhaps it was a labyrinth. I checked the other circles. It wasn't. An arc of about 30 degrees of the 7 circles was missing. I was shocked. It was the last thing I had expected. What it meant was that someone sometime had interfered with the 7 circles round St.Peter's Tomb. I also wondered how much I had missed in the past by not fully dowsing the 7 circles. I enquired of Elohim and was told to take action. I invoked the Almighty and his legions as follows: "In the name of the Tetragrammaton, Elohim, Metatron, Jesus and all that is good in the universe, let no evil enter or leave this place. Let it only receive and radiate good, and may it be restored to the form You wish. So may it be." The circles were restored and the missing segment replaced. I was told this was O.K. and the 49-square square appeared over the Basilica floor. I had noticed before that the line from the missing segment to the 'Altar of the Chair' in the apse was the 49-bar line, which was curious because the line down the nave was a 7-bar line, one of your lesser lines. But when the circle was restored, the 7-bar line became a 49-bar line up to the entrance where it still split off to Hadrian's Mausoleum.

Before I left I went to look at Michel Angelo's Piet., now behind glass and safe from vandalism. In front was the 8 point star, but dowsable was a large spiral, the only one I found there. It was O.K. , that is to say, in the right direction. There are those who say that the Piet. and certain other religious works of art of the Renaissance contain an esoteric message, and those who wish to see the Seal of Solomon in it can do so. Suffice it to say that by any standard it is a work of sublime art. I do, however, feel that if what I am trying to say is true one might well look at religious art in a new light. After all, to be limited in one's imagery to the accepted religious figures of the day might well be a factor by which the great geniuses like Leonardo and Michel Angelo would not necessarily wish to be bound. The painting and sculpture of this period might well express something other than religious banalities, repeated many times over, however great the standard of artistry. One day someone must look at the works of Michel Angelo, Leonardo, Titian, Raphael and all of them, to see whether or not their paintings contain Kabbalistic symbols in their basic design. Why was Charles the Vth so friendly with Titian and why did he insist on his 'Resurrection' being hung at Yuste? The evidence I have sought to gather indicates that Charles understood much. He would not be one for naive imagery. There is great magical value in these works of masters, who had a comprehension that could only be expressed in this way due to the caveats of the day. But the circumstances of the Piet. were good.

I went down to look at the tomb of St. Peter. You go down some stairs and a passage leads you round it, where the tombs of various other popes may be found. Nothing could be perceived with the rod except a powerful attraction to the tomb as one walked around it. It was clearly a power source. I noticed the (*symbol) symbol prominent in the ornate access-way to the tomb. I was most impressed by the tomb of Pope John the 23rd, the 'Good' Pope, exponent of ecumenicalism and general religious good sense. It was of simple, unornate polished granite, with his name and (*symbol) symbol - nothing else. No other pope's tombs had this symbol that I could see, except St. Peter and John. I wonder why? I dowsed the centre line again. Now a Grail labyrinth had appeared. All I can say is that it was complex, and dowsing a maze is at least an hour's work, and time was short.

I took the lift to the roof and could see how Hadrian's Mausoleum lined up on the bearing I had dowsed. From this vantage point, I fell to thinking "Why?". What on earth did Hadrian have to do with the thing? The history books say that Rome was at its apog,e during his rule, and the abiding theme of Hadrian was conservation and preservation; perhaps that was why the 49-bar line went there. But I had seen how the 7 had become 49 down the nave when the circles had been completed. Ought it not to continue in a straight line, instead of being diverted to the Mausoleum? I was told that I was correct and it ought to be changed. I asked for the system to be restored to the form desired by the Divine Will. I later ascertained that the line had disappeared, and that of the Via della Conciliazione was now a 49-bar line. However, the main entrance of the Mausoleum continued to emit a triple. What was the purpose of using his Mausoleum in this way? Was it because he was conservative and an institutionalizer? And by injecting these particular characteristics into the Roman Church and obliging it to give pre-eminence to these considerations, its true spiritual mission could thus be obfuscated? I suspect this to be the explanation, but it is only surmise. I had no more time, so I bought various official publications for later use. The history of the Vatican needs no elaboration here, other than that it is held to be on the site of Nero's Circus, where the early Christians who were alleged to have fired Rome were martyred.

The present basilica is the work of various architects, but mostly Michel Angelo, who obviously knew a thing or two. The ceiling of the Sistine Chapel, commissioned by the same Sixtus who had the obelisk moved, contains a profound story. Anyway, I noted that the Vatican Museum contains Egyptian mummies, which is odd, and I have heard some cogent remarks on the results of bringing mummies to Europe. Many of the other halls and buildings have the same symbols on the floor. In the throne-room in front of the Pope's throne, the design is thus: (* symbol) with eight octagons on either side. Powerful stuff! In the Papal Consistory, where the cardinals gather, the symbol is thus: (*symbol) The floor of the Sistine Chapel has a symbol which I have found in a fresco in the ruins of a church on the island of Comacine in Lake Como and in one of the floors in front of a Papal tomb in St. Peter's, thus: (*symbol) It must mean something. The floor of the Hall of the Greek Cross does not look too good. Its basic form is (*illustration) and pendulum dowsing the picture gave a huge painful negative, the spin was so violent. I think it is something to do with confining the Divine Light in a material prison. The Rotunda Hall has an equally-sided octagon. It gave a vestigial positive reading. Another point is the Baldachin of the Papal altar, four spiralled columns, two clockwise and two anti-clockwise. This theme is repeated in the church of Santa Maria Maggiore, of St. Paul Without the Walls and St. John Lateran.

No one can go to St. Peter's without the greatest awe, for its traditions, its exotericism and for the most extraordinary lavishness of its appointment. I wonder if Stonehenge cost as much in its day. I left St. Peter's slightly dazed. I did not have time to recheck the new route of the 49-bar line; did it still go to the Pantheon? I suspect so, but by a new route. However, I had a feeling about the Piazza Venezia and the Wedding Cake, that huge, grandiose, glittering white confection, built by Victor Emmanuel II. This dominates the square where Mussolini, from the balcony of the Palazzio Venezia, used to harangue the crowds. I parked the car at the side of the Wedding Cake, haggled with one of the quasi-official attendants about parking on the pavement, an argument which ended when the transfer of a 1000 lire note was effected. In front a demonstration was in progress about the pensions of war invalids, but no one seemed very interested. A 7-bar line came out of the centre, went across the Piazza and up the Via del Corso. That seemed reasonable, but where was the 49-bar line. I walked down the pavement in front of Palazzio Venezia and as I approached the spot near the balcony of Mussolini, there it was, but coming out at right angles to the 7-bar line. I followed it across the square under the baffled gaze of a traffic policeman until it hit the 7-bar line. Then it stopped. So did I. I searched either side and there was nothing but the 7-bar line. I had never found such a thing before.

Looking around, however, I saw the spiralled column of Trajan to the East of the Piazza. Could this have anything to do with it.? I went over, defying almost certain death from the traffic. Trajan's column is on a cross of lines, and I found a single line, how rare these days, going north. Then I found the 49-bar line again, narrowing to a single on the column, expanding again and carrying on to the east. this narrowing is a firm indication that the point is significant. I counted the spirals - 21. The 49-bar line went west to the 7-bar line and disappeared again. Somehow a 7-bar line was effecting an interchange for a 7-bar line. The dowsing plan was thus: (*sketch map) The Elohimic information was that all was as it should be. I lunched in a pleasant trattoria nearby and proceeded to the Forum behind the Wedding Cake. A 7-bar line came through the Arch of Septimus Severus, down the Forum to the Arch of Titus. One of the Temples was loaded with the negative symbol which was corrected; and then another.

Driving back to the airport, I was able to go round the Colosseum. The central line of the Forum went to it and out the other end. I would have liked to have gone in, but there was no time. The 49-bar line did not go through it. About 2 kilometres away in the direction of the airport, I noticed a small pyramid, half-built into the wall. I suppose there had to be one around somewhere, and it was on the 49-bar line which had somehow come all the way around the Forum and the Colosseum. It was called the Pyramid of Caius Cestius, but I have no more information about him at the moment. As I write this three days later, I wonder if I found the truth, and if I did the right things. How on earth does one know?