By Allan Cornford
Copyright © 2022 Allan Cornford. (Standard Copyright License.) All rights reserved. Independently Published through KDP. The images which are included for informative purposes only, are Screenshots, courtesy of Ewaranon’s YouTube documentary; ‘The Lost History of the Flat Earth’. All external links to images in the public domain, are courtesy from Wikimedia Commons and where possible, credits are given to each source. This I believe, comes under the term of Fair Use.
There are literally thousands of old:
- churches
- abbeys
- minsters
and cathedrals dotted across the United Kingdom, which date back for centuries.
It’s also alleged that many of these old structures are precisely aligned with Ley lines.
We are told that while the cathedral foundations were being laid, and under the watchful eye of a Master Quarryman a team of skilled craftsmen produced the blocks of stone that would be used in the building process.
The question of how the hundreds of thousand tons of building material arrived at the build site, however, is generally avoided.
This should come as no surprise, for if the load is placed in a wheeled cart, a horse can pull 1.5 times its body weight over long distances.
For example, a 2,000-pound horse can pull a 3,000-pound cart or a little over 1.5 tons.
Official history tells us that 70,000 tons of stone, 3,000 tons of timber and 450 tons of lead were used in the construction of Salisbury Cathedral.
Salisbury Cathedral, formally the Cathedral Church of the Blessed Virgin Mary, is an Anglican cathedral in the city of Salisbury, England. The cathedral is regarded as one of the leading examples of Early English Gothic design. Built over a relatively short period, some 38 years between 1220 and 1258, it has a unity and coherence that is unusual in medieval English cathedrals. The tower and spire were completed by 1330. The cathedral’s spire, at 404 feet (123 m), is the tallest in England.
The spire and tower together, which were built at a later date, added an extra 6,397 tons to the weight of the building.
The freestone used for the main body of the cathedral came from the Teffont Evias Quarry, about 11 miles away, and it was constructed over a period of 38 years.
With a combined total weight of building materials being 73,450 tons, we are left with an approximate 49,000 cartloads.
Meaning 1,289 cart loads per year, or 25 cartloads per week, week in week out, over the entire construction period of 38 years.
The additional 6,397 tons of limestone used for the spire and tower, was quarried and transported from Corfe Castle, a distance of 45 miles.
More than a 2-day journey, and 6,397 tons of stone being approximately 4,264 cart loads.
Was this achievable in the twelfth century with primitive highways by today’s standards?
Possibly.
But one really doesn’t have to be a genius to figure out why information concerning the logistics at the time of construction, is scarce.
Although many church buildings have since been elevated to cathedral status, an emerging theme can be found in the historical record of the original 42 Cathedrals in England.
Most, we are told, were erected on the site of an earlier Norman church or abbey, and construction work began at a time when the local population amounted to little more than a thousand souls.
And that’s a fairly conservative figure.
In 1377, the first true poll tax was levied in England, in which everyone over the age of 14 who was not exempt, was required to pay a groat to the Crown.
The records taken listed the name and location of everyone who paid the tax and so gave an excellent measure to estimate the population numbers at the time.
Although assumptions need to be made about the proportion of the population who were under 14, generally taken to be around a third.
By 1530 the population of England and Wales had risen to around 3 million and by 1600 it was about 4 million.
The seventeenth and the eighteenth centuries proved a low point for Britain’s demography, with no major structured survey of the nation’s populations.
The best estimate from this period is obtained from the hearth tax of 1662, which formed a survey of the number of hearths in each home.
English historian W. G. Hoskins, records in his 1984 book, ‘Local History in England’, the population figures for 30 cathedral towns and cities in the year 1377.
William George Hoskins CBE FBA (22 May 1908 – 11 January 1992) was an English local historian who founded the first university department of English Local History. His great contribution to the study of history was in the field of landscape history. Hoskins demonstrated the profound impact of human activity on the evolution of the English landscape in a pioneering book: The Making of the English Landscape. His work has had lasting influence in the fields of local and landscape history and historical and environmental conservation.
Construction of the 342 feet long, Hereford Cathedral as it stands today, began in 1079.
Yet 300 years later in 1377, the population of Hereford was still only 1,903 people.
Construction of the 558 feet long Winchester Cathedral as it stands today, also began in 1079.
Yet 300 years later, the population of the city was still only 1,440 people.
At 536 feet in length, construction began on Ely Cathedral in 1083, yet 300 years later the city had a population of just 1,772 people.
Ely Cathedral, formally the Cathedral Church of the Holy and Undivided Trinity of Ely,[1] is an Anglican cathedral in the city of Ely, Cambridgeshire, England.
With a tower height of 203 feet, construction began on Worcester Cathedral in 1084, yet 300 years later, the city had a mere 1,557 inhabitants.
Worcester Cathedral, formally the Cathedral Church of Christ and Blessed Mary the Virgin, is a Church of England cathedral in Worcester, England. The cathedral is the seat of the bishop of Worcester and is the mother church of the diocese of Worcester; it is administered by its dean and chapter. The cathedral is a grade I listed building and part of a scheduled monument.
Construction of the 220 feet tall, Leicester Cathedral began in 1086, yet a little under 300 years later the population was 2,100 people.
The Cathedral Church of Saint Martin, Leicester, commonly known as Leicester Cathedral, is a Church of England cathedral in Leicester, England and the seat of the Bishop of Leicester. The church was elevated to a collegiate church in 1922 and made a cathedral in 1927 following the establishment of a new Diocese of Leicester in 1926.
Construction work began on the 225 feet tall, Gloucester Cathedral in 1089, yet around 300 years later, the population was 2,239 people.
Gloucester Cathedral, formally the Cathedral Church of St Peter and the Holy and Indivisible Trinity and formerly St Peter’s Abbey, in Gloucester, England, stands in the north of the city near the River Severn. It originated with the establishment of a minster, Gloucester Abbey, dedicated to Saint Peter and founded by Osric, King of the Hwicce, in around 679.
The six examples listed above, provide a pattern that can be found in the historical record of most all English cathedrals.
If we were to assume a fairly conservative two-fold increase in population growth over this period of 300 years, then construction work on these English cathedrals began when the local population was on average less than 1,000 souls.
Approximately one-third of whom, were children under the age of 14, leaving an adult population of around 600.
Furthermore, we are led to believe each cathedral was constructed over a relatively short period of time, in some cases just a few decades.
Does that even sound plausible to you?
Why were so many cathedrals constructed in England over roughly the same time period?
Why would such a relatively small population construct these magnificent and highly complex buildings?
Especially at a time when realistically, they lacked the means and ability to do so?
Were these grand buildings inherited by the local community, rather than constructed by them?
To help put things into perspective, 700 years after the completion of Salisbury Cathedral for example, construction began on Liverpool Cathedral in 1904, with a city population of 685,000 people.
Liverpool Cathedral is a Church of England cathedral in the city of Liverpool, England. It is the seat of the bishop of Liverpool and is the mother church of the diocese of Liverpool. The church may be formally referred to as the Cathedral Church of Christ in Liverpool. It is the largest cathedral and religious building in Britain, and the seventh largest church in the world.
Yet seven centuries previous, and with a population of around 1,000 people, we’re told that the main body of Salisbury Cathedral, was completed in 38 years, from 1220 to 1258.
The tower and spire alone weigh 6,397 tons, the stone being quarried and transported at a later date from Corfe Castle, 45 miles away.
Corfe Castle is a fortification standing above the village of the same name on the Isle of Purbeck peninsula in the English county of Dorset. Built by William the Conqueror, the castle dates to the 11th century and commands a gap in the Purbeck Hills on the route between Wareham and Swanage. The first phase was one of the earliest castles in England to be built at least partly using stone when the majority were built with earth and timber. Corfe Castle underwent major structural changes in the 12th and 13th centuries.
Even with the rapid advancement of technology during the Industrial Revolution, Liverpool Cathedral took nearly double the length of time, of 74 years to complete.
Unlike their predecessors, who 700 years earlier had managed to haul thousands of tons of limestone by horse and cart from a site 45 miles away, Liverpool Cathedral was built mainly of red brick and local sandstone quarried and transported by lorries from the South Liverpool suburb of Woolton.
Could all this strangeness be due to the fact, that unlike the cathedrals built seven hundred years earlier, Liverpool Cathedral was not an inherited structure?
For there is much verifiable documentation and plenty of photographs showing the cathedral under construction.
Once again, something doesn’t seem to sit right with the official narrative.
Has it been fabricated, at least in part, by the controllers?
In order to cram the construction of as many old cathedrals as possible, into a limited timeframe?
A timeframe inhabited by a people without the means and ability to build them?
For it seems that at least 800 years of earlier history has been inserted into our present timeline.
Architectural Wonders
The building of monumental cathedrals was never for religious purposes, nor even as an expression of faith by the builders.
Religion in the institutional sense was created by the controllers, in order to control the population, and in many cases has been used as a vital tool of deception to justify the old world’s infrastructure.
For when viewing these architectural wonders, one clearly sees that those who constructed them did so for a purpose and possessed a creative ability as good as unrivalled today.
The Milan Cathedral in Italy, we are told, took nearly six hundred years to complete:
construction began in 1386, and the final details were completed in 1965.
Milan Cathedral (Italian: Duomo di Milano [ˈdwɔːmo di miˈlaːno]; Milanese: Domm de Milan [ˈdɔm de miˈlãː]), or Metropolitan Cathedral-Basilica of the Nativity of Saint Mary (Italian: Basilica cattedrale metropolitana di Santa Maria Nascente), is the cathedral church of Milan, Lombardy, Italy. Dedicated to the Nativity of St. Mary (Santa Maria Nascente), it is the seat of the Archbishop of Milan, currently Archbishop Mario Delpini.
The majestic Cathedral’s five broad naves, divided by 40 pillars, are reflected in the hierarchic openings of the façade.
Even the transepts have aisles.
The nave columns are 280 feet high, and the apsidal windows are 68 by 28 feet.
The huge building is of brick and stone construction, faced with quarried marble.
The roof of the cathedral is an amazing forest of openwork pinnacles and spires (antennae) set upon delicate flying buttresses.
Some of the finish work is just amazing and even the stonework on the foundations is thought provokingly perfect.
Who prepared the groundwork and excavated the footings back in the fourteenth century?
Where did all the concrete come from just to lay a solid foundation beneath this massive building?
- the sculpted blocks,
- the fine marble and granite
- the wood
- the metals for domes, spires and antennae
- the mosaics
- the paint finishes
- the gold leafing
- the sculptures
where did it all come from?
The required scaffolding alone would be a logistical nightmare.
How were hundreds of thousands of tons of building material transported from their source to the build site?
How was this possible for men with:
- horse and carts
- picks
- shovels
and a collection of modest hand tools, as we are expected to believe?
Speak to any builder or structural engineer, and if honest, they’ll say; It’s not.
Religious icons and stained-glass windows may well have been added since the time of Napoleon in the early 1800’s.
Napoleon Bonaparte (born Napoleone Buonaparte; 15 August 1769 – 5 May 1821), later known by his regnal name Napoleon I, was a French general and statesman who rose to prominence during the French Revolution and led a series of military campaigns across Europe during the French Revolutionary and Napoleonic Wars from 1796 to 1815. He led the French Republic as First Consul from 1799 to 1804, then ruled the French Empire as Emperor of the French from 1804 to 1814, and briefly again in 1815. He was King of Italy from 1805 to 1814 and Protector of the Confederation of the Rhine from 1806 to 1813.
Miles Williams Mathis: Was Napoleon Jewish? – Library of Rickandria
Interestingly, on 20 May 1805, Napoleon Bonaparte, about to be crowned King of Italy, ordered the façade to be finished by architect, Carlo Pellicani.
The 46.5 feet, golden Madonnina statue for example, which was designed, built and placed atop a spire by Pellicani, which at 417 feet is the tallest point in Milan.
We are told that Magdeburg Cathedral in Germany was constructed over the period of 300 years starting from 1209, and the completion of the steeples took place only in 1520.
Magdeburg Cathedral (German: Magdeburger Dom), officially called the Cathedral of Saints Maurice and Catherine (German: Dom zu Magdeburg St. Mauritius und Katharina), is a Lutheran cathedral in Germany and the oldest Gothic cathedral in the country. It is the proto-cathedral of the former Prince-Archbishopric of Magdeburg. Today it is the principal church of the Evangelical Church in Central Germany. The south steeple is 99.25 m (325 ft 7 in) tall, the north tower 100.98 m (331 ft 4 in), making it one of the tallest cathedrals in eastern Germany. The cathedral is likewise the landmark of Magdeburg, the capital city of the Bundesland of Saxony-Anhalt, and is also home to the grave of Emperor Otto I the Great and his first wife Edith.
Yet the exquisite high-tech stonework and the intricate detail of the metal antennae make us folk today, seem a primitive people by comparison to those who built it.
Is it possible that the Europeans merely inherited this magnificent structure along with all the other colossal works of art?
How about the stunning architecture of the magnificent St. Basil’s Cathedral which stands in Moscow’s Red Square.
The Cathedral of Vasily the Blessed (‹The template Lang-rus is being considered for deletion.› Russian: Собор Василия Блаженного, romanized: Sobor Vasiliya Blazhennogo), known in English as Saint Basil’s Cathedral, is an Orthodox church in Red Square of Moscow, and is one of the most popular cultural symbols of Russia. The building, now a museum, is officially known as the Cathedral of the Intercession of the Most Holy Theotokos on the Moat, or Pokrovsky Cathedral. It was built from 1555 to 1561 on orders from Ivan the Terrible and commemorates the capture of Kazan and Astrakhan. Its completion, with its colours, was made in 1683. It was the city’s tallest building until the completion of the Ivan the Great Bell Tower in 1600.
Constructed from red brick and white stone, according to Wikipedia, although the site dates back to the 14th century, the cathedral as it stands today, was built from 1555 to 1561 on orders from Ivan the Terrible.
Ivan IV Vasilyevich (Russian: Иван IV Васильевич;[d] 25 August 1530 – 28 March [O.S. 18 March] 1584), commonly known as Ivan the Terrible, was Grand Prince of Moscow and all Russia from 1533 to 1547, and the first Tsar and Grand Prince of all Russia from 1547 until his death in 1584. Ivan’s reign was characterized by Russia’s transformation from a medieval state to a fledgling empire, but at an immense cost to its people and long-term economy.
Standing at 151 feet tall, and complete with ornamental, corbelled arches, the cathedral has nine domes arranged in perfect symmetry, each topped with antennae, and each resembling the flame of a bonfire rising into the sky.
In his book, ‘Russian Architecture and the West’ [p.126], Russian historian Dmitry Shvidkovsky, describes it thus.
Dmitry Shvidkovsky (Russian: Дмитрий Олегович Швидковский, born 14 May 1959) is a Russian educator and historian of architecture of Russia and the United Kingdom during the Age of Enlightenment. A 1982 alumnus and long-term professor of Moscow Architectural Institute, Shvidkovsky was appointed its rector in 2007.
It is like no other Russian building.
Nothing similar can be found in the entire millennium of Byzantine tradition from the fifth to the fifteenth century, a strangeness that astonishes by its unexpectedness, complexity and dazzling interleaving of the manifold details of its design.
Interestingly, watercolor paintings of the Cathedral and the Red Square by Russian contemporary artist, Fyodor Alekseyev, circa 1800, show the adjacent streets covered with a thin layer of mud and dirt.
Fyodor Yakovlevich Alekseyev (Russian: Фёдор Яковлевич Алексеев; c.1753–1755 – 23 November 1824) was a Russian painter. His contemporaries often called him the Russian Canaletto, in recognition of his masterful vedute.
Again, the local residents and their way of life, primitive in comparison to the glorious architecture surrounding them.
What we see in these paintings are two different worlds, each one alien to the other, and portrayed on canvas for all to see.
The very notion that folk of this era had the technology and ability to build such massive and beautiful structures, is an incredible, if not impossible one.
One of St. Petersburg’s greatest engineering marvels is St. Isaac’s Cathedral (now a museum), whose 333 feet tall, gilded dome, of more than 100 kilograms of gold, dominates the city skyline.
Saint Isaac’s Cathedral (Russian: Исаа́киевский собо́р, romanized: Isaakiyevskiy sobor) is a large architectural landmark cathedral that currently functions as a museum with occasional church services in Saint Petersburg, Russia. It is dedicated to Saint Isaac of Dalmatia, a patron saint of Peter the Great, who had been born on the feast day of that saint. It was originally built as a cathedral but was turned into a museum by the Soviet government in 1931 and has remained a museum ever since, with church services held in a side chapel since the 1990s. In 2017, the Governor of Saint Petersburg offered to transfer the cathedral back to the Russian Orthodox Church, but this was not accomplished due to the protests of St Petersburg citizens opposing the offer.
The exterior is faced with grey and pink stone and features a total of 112 red granite columns with Corinthian capitals, each hewn and erected as a single block: 48 at ground level, 24 on the rotunda of the uppermost dome, 8 on each of four side domes, and 2 framing each of four windows.
(Credit: Wikipedia)
We are told it was built by an army of serfs, who sunk 10,000 tree trunks into the marshy banks and fenlands of the River Neva to support the cathedral’s colossal weight of more than 300,000 tons. In this instance, Wikipedia is a little more realistic; by claiming it took 40 years to build and opened in 1858.
The question is, was this marvelous structure completed in 1858?
Or was it merely inherited in 1858?
If so, who were the original builders, and where did the builders go?
Things get a little puzzling however, in the form of a lithography of architect, Auguste de Montferrand’s drawing from 1710, of the first St. Isaac’s Church.
Here we see a massive single-story building, complete with:
- bell tower
- domes
- antennae
and a number of slender, towering spires in the background.
In the foreground, the odd horse or two and several human figures stroll the muddy street.
Then lo and behold, we can clearly see a ship’s anchor, buried half in, and half out of the mud.
Paintings and drawings prove nothing of course.
But if a picture paints a thousand words, then what is the artist trying to say?
According to ‘Stolen History’, “apparently there is this theory in Russia, that Peter the Great was not the founder of Saint Petersburg.
Peter I (Russian: Пётр I Алексеевич, romanized: Pyotr I Alekseyevich, IPA: [ˈpʲɵtr ɐlʲɪkˈsʲejɪvʲɪtɕ]; 9 June [O.S. 30 May] 1672 – 8 February [O.S. 28 January] 1725), better known as Peter the Great, was the Tsar of all Russia from 1682 and the first Emperor of all Russia from 1721 until his death in 1725. He reigned jointly with his half-brother Ivan V until 1696. From this year, Peter was an absolute monarch, an autocrat who remained the ultimate authority and organized a well-ordered police state.
He did not build the city, he dug it out.
Whether true or not, I wouldn’t know, but like many countries across the realm, there is plenty of visual evidence in Eastern Europe, for buildings with windows entirely below, or partially buried below ground level.
We are told the Saint Mary’s Basilica in Kraków, Poland, was completed in 1347, with additions made in the first half of the fifteenth century.
Home – St. Mary’s Basilica in Krakow, Poland, Main Square
Exterior photographs taken of the lower level, provide undeniable evidence that the original ground level of the main building, is now a minimum of 6-8 feet below the current ground level.
Did the Basilica sink 6 feet into the ground under its own weight?
Or did something occur to deposit an additional 6 feet of earth upon the original ground level?
Again, the perfect copper layering and the architectural symmetry of the building’s grand interior, which we thought was art, was not just art, but visual old world technology meticulously carved into the stonework.
Wikipedia inform us that during the eighteenth century, all:
- 26 altars
- equipment
- furniture
- benches
and paintings were replaced, and the walls were decorated with polychrome.
Whilst there’s no way of knowing for certain, I strongly suspect that the interior:
- altars
- furniture
- paintings
etc. were not replaced but added for cosmetic and religious purposes.
For over the years 1887 1891, we’re told the building gained a new design, murals were painted and stained glass was added to the presbytery.
Prior to the nineteenth century there is no mention of stained glass.
A Hidden Secret?
In his classic 1831 novel, ‘The Hunchback of Notre-Dame’, Victor Hugo revealed that classical architecture which arose during the Renaissance of the 1400s and reigned until the beginning of the nineteenth century, had an agenda which was dead set on replacing, and in turn destroying the medieval architecture of the Middle Ages.
Victor-Marie Hugo, vicomte Hugo (French: [viktɔʁ maʁi yɡo] ⓘ; 26 February 1802 – 22 May 1885) was a French Romantic author, poet, essayist, playwright, and politician. During a literary career that spanned more than sixty years, he wrote in a variety of genres and forms.
Eugène Léon Canseliet (18 December 1899, Sarcelles – 12 April 1982, Savignies), was a French writer and alchemist. He was a student of the mysterious alchemist known as Fulcanelli. He wrote the preface for each of his master’s books (Le Mystère des cathédrales and Les Demeures philosophales). Later in his life after his master died, he took a quiet life in France and continued to study and practice what Fulcanelli taught him, taking on students.
In 1946 and having left the written manuscript of ‘Le Mystère des Cathédrales’ with his only student, Eugène Canseliet, the enigmatic French alchemist and author Fulcanelli, mysteriously disappeared after the liberation of Paris, never to be seen again.
Fulcanelli’s book which was published after his disappearance in 1946, informs us that the great cathedrals
”once held a mystery”
In one of his videos, Ewaranon remarks;
“Between them, Fulcanelli and Victor Hugo, suggest the cathedrals once held a secret which a force in this world did not want us to know about.”
Could there be an element of truth in this?
Did the cathedrals once hold a mystery, a secret?
For why would the builders go to such extreme lengths to create these magnificent structures unless there was a grander purpose?
Where Victor Hugo talks about the people of his time, defacing or destroying many of the grand old buildings, please bear in mind they also had the technology, to add facades and stone cladding to the existing structures and even to build imitations.
The Victorian restoration period directly affected around 80% of the ecclesiastical structures in England, especially the medieval ones.
From the addition of stone cladding and facades via restoration, to demolition and then rebuilding.
It was during this time period that the church interiors were redecorated, standardized and in many cases, completely rewritten.
If indeed, an entire chunk of British and American history has been deliberately hidden, the process of doing so, most likely occurred during this same period of time.
CONTINUE
BOOK: EXCERPT: Tartarian Rule? Or Millennial Kingdom? – Free Energy – Library of Rickandria
BOOK: Tartarian Rule? Or Millennial Kingdom? – Library of Rickandria
BOOK: EXCERPT: Tartarian Rule? Or Millennial Kingdom? – Cathedrals