Rosslyn’s Cymatics and the Music of the Spheres
Rosslyn Chapel, nestled in the verdant countryside of Midlothian, Scotland, stands as a silent witness to centuries of intrigue and speculation. This enigmatic structure, constructed in the 15th century, has captured the imagination of scholars, architects, and tourists alike with its labyrinth of secrets etched in stone. All the fan-faire aside, let’s remember that first and foremost it is a place of worship and let us pray that its mysteries lead our hearts closer to God, who is the architect of all creation.
The chapel, catapulted to fame in recent times by Dan Brown’s “The Da Vinci Code,” is shrouded in enigmas linked to the Knights Templar, the Masons, and the Holy Grail. It is also believed to have been an ancient Druidic sacred site. This blend of historical intrigue and literary spotlight has turned the chapel into a focal point for both scholarly research and popular speculation. The intricate carvings and unique architecture of the chapel have sparked countless theories and discussions about its supposed connections to these storied organizations and relics. Despite the allure of these mysteries, it is important to approach the tales with a discerning eye, recognizing the blend of fact and fiction that often accompanies such legendary places.
The Storied History of Rosslyn Chapel
The story of Rosslyn Chapel begins in the mid-15th century when William St Clair, the 1st Earl of Caithness, decided to construct a private place of worship for his family. The precise date of its foundation is not clear, but it is generally accepted to be around 1446. The St Clair family, of Norman-French descent, had significant landholdings in the area and was well connected to the Scottish nobility. The chapel was dedicated to Saint Matthew the Evangelist, the patron saint of the St Clair’s.
The construction of Rosslyn Chapel took approximately 40 years and was completed in 1486. The chapel is relatively small in size compared to its more famous contemporaries, but it is the quality and detail of its craftsmanship that truly sets it apart. The stonework is adorned with an astonishing array of carvings, which include biblical scenes, mythical beasts, and floral motifs. Among the most intriguing are the famous “Apprentice Pillar” and the “Green Man” motifs, which have inspired countless legends and interpretations.
The chapel’s design is said to be influenced by the architectural styles of Europe, particularly those of the Burgundian and the English Perpendicular Gothic. It is theorized that the master mason was a member of the renowned Preston family of masons, who had previously worked on other notable Scottish structures, such as the Palace of Westminster and the University of Oxford’s All Souls College.
The Scottish Reformation in the 16th century brought significant turmoil to Rosslyn Chapel. The Protestant reformers, who sought to purge the country of Catholicism, targeted the chapel due to its ornate nature and its association with the pre-Reformation Church. During the 16th and 17th centuries, the chapel suffered from neglect and vandalism, with much of its original interior being lost.
In the 18th and 19th centuries, the chapel saw a resurgence of interest, partly due to the works of the poets Robert Burns and Sir Walter Scott. These Romantic figures helped to revive the chapel’s reputation, transforming it into a symbol of national heritage and a muse for the arts. The Victorian era saw significant restoration efforts, which aimed to preserve the building and its storied history for future generations.
A Feature Unique to Rosslyn Chapel
Among Rosslyn’s most fascinating features are the 213 intricately carved cubes (originally 215/216) that adorn the chapel’s pillars. These cubes hold within their intricate patterns a symbolism that intertwines art, science, and religion. Two modern-day researchers, Thomas and Stuart Mitchell, have delved into the mysteries of Rosslyn Chapel, bringing forth a theory that suggests these carvings are not merely decorative but embody the ancient knowledge of cymatics, a study of the visual representation of sound.
The “Music of the Spheres” motif, which is present throughout the chapel, is cited as evidence of the Templars’ advanced knowledge of sacred geometry and their guardianship of ancient secrets.
The Mitchell Hypothesis the Hidden Code of Rosslyn Chapel
Thomas and Stuart Mitchell, a father-son partnership, embarked on a quest to decode Rosslyn Chapel’s hidden messages. Their research led them to the study of cymatics, which is the scientific inquiry into the visualization of sound and vibration. They proposed that the complex patterns found on the chapel’s pillars may represent a form of musical notation that could be translated into actual melodies. The Mitchell’s hypothesis was presented in their book “The Cryptic Code of the Hidden Masters” published in 2007.
The Science Behind Cymatics
Cymatics was first observed by the Greek philosopher Pythagoras, who recognized the relationship between music and mathematics. In the 20th century, Swiss scientist Hans Jenny revitalized the study with his experiments using the Chladni Plate, a metal disk that vibrates at specific frequencies to produce symmetrical patterns in materials placed on its surface. These patterns, known as Chladni figures, are the physical manifestation of sound waves.
The concept of using architecture to create harmonious spaces has roots in ancient traditions, such as those of the Pythagoreans, who designed their buildings with precise mathematical ratios to achieve acoustic perfection. The idea that sound could be used to heal or influence the human body and spirit is not new and can be found in various cultures throughout history.
The Apprentice Pillars
The Rosslyn Chapel is adorned with an array of exquisite carvings, but the Apprentice Pillars are a masterpiece within a masterpiece. The pillars are so named because of the legend surrounding their creation. The story goes that the chapel’s master mason, upon seeing the apprentice’s superior craftsmanship, became so envious that he killed the young artisan. The grieving master mason then buried his apprentice within the chapel’s walls, leaving behind a testament to his skill and a warning to future craftsmen.
The chapel is supported by fourteen pillars, creating an arcade with twelve pointed arches that span three sides of the nave. At the eastern end, three pillars are distinguished by their names and symbolic significance: the Master Pillar, the Journeyman Pillar, and the renowned Apprentice Pillar.
The 213 cubes that cover the pillars are engraved with one of twelve geometric motifs, such as diamonds, rosettes, and inverted circles, displaying an intriguing irregularity in their repetition, with some recurring frequently and others appearing only once or twice. Beneath each arch, excluding the initial and final ones, sits an elegantly sculpted stone angel, depicted either musically performing with an instrument or reciting from a sacred hymnal.
Cymatics and Rosslyn Chapel
The Mitchell’s cymatics theory suggests that the patterns on the Apprentice Pillars are a visual representation of sound waves. By examining the carvings through the lens of cymatics, they discovered that the patterns correlate with the natural shapes formed by vibrating matter. When a substance, such as sand or water, is placed on a vibrating surface, it will arrange itself into symmetrical forms that echo the frequencies of the applied sound. The researchers posited that the stonemasons of Rosslyn Chapel were privy to this knowledge and encoded it within the very fabric of the building.
It is what we could call ‘frozen music’, a little like cryogenics. The music has been frozen in time by symbolism. It was only a matter of time before the symbolism began to ‘thaw out’ and begin to make sense to scientific and musical perception
Thomas Mitchell
The idea is that the pillars could serve as a musical score, with each cube representing a note or chord. When ‘played’ by the right acoustic conditions, the chapel would resonate with the sacred harmonies of the universe. This resonance was believed to have spiritual implications, as medieval scholars often associated harmonious sound with the divine.
The Mitchell’s Discovery
Using skills he learned as an RAF code-breaker during the Korean War and his lifetime knowledge of classical music, he finally realized they depicted the vibrations of musical notes. He said: “It was a Eureka moment to end all Eureka moments. Many angels were carrying musical instruments and some were even grouped as if they were a choir. But one angel gave me the biggest problem. He was carrying something and at first I thought it was musical instrument which had been lost in the mists of time. It was only when I realized that he was carrying a musical stave, the blueprint for all musical composition, that I knew I was looking at a secretly coded piece of music.”
The Mitchell’s analysis of the Rosslyn Chapel carvings led them to identify a series of repeating motifs that could be translated into musical notes. By matching these Chladni patterns with musical notes corresponding to the same frequencies, they were able to produce a melody that they claim is linked to the chapel’s alleged connections with the Knights Templar and Freemasonry. The melody, known as the “Rosslyn Motet,” is a haunting and harmonious tune that seems to resonate with the chapel’s mysterious atmosphere.
Stuart Mitchell has suggested that the tunes might have been concealed because the knowledge of harmonics was potentially viewed as dangerous or even heretical by the church authorities of the 15th Century.
Intriguingly, the music features the Devil’s Chord, or diabolus in musica. “The piece begins with an augmented fourth, a leap in the ceiling’s design,” Mitchell explains. “This interval of seven semitones was prohibited in medieval music by the Catholic Church, as it was considered unsettling and thus diabolical. It’s possible that St Clair, the chapel’s founder, was challenging the church’s authority.” Mitchell describes the music as a blend of Celtic tunes and secular worship, combined with a form of Christian worship that is not Catholic.
Implications and Criticism
The Mitchell’s work has been met with both fascination and skepticism. While some see their findings as a revelation of a lost art and a testament to the advanced knowledge of the medieval craftsmen, others argue that the correlation between the carvings and cymatic patterns is coincidental or overly speculative. Critics contend that the lack of historical documentation supporting the use of cymatics in the design of the chapel weakens the hypothesis.
This is my Father’s world,
Maltbie Davenport Babcock
And to my list’ning ears
All nature sings, and round me rings
The music of the spheres.
However, the allure of the Rosslyn Chapel’s secrets continues to draw in those seeking to understand the enigmatic beauty of the structure. The cymatic theory adds another layer to the chapel’s rich tapestry of lore, which includes connections to the Holy Grail and the Templars.
Conclusion
Whether the 213 cubes of Rosslyn Chapel are indeed a cymatic score or a masterful display of medieval craftsmanship, they stand as a testament to the human desire to unravel the mysteries of the universe. The Mitchell’s research has provided a fresh perspective on the chapel’s enigmatic carvings, inviting us to consider the possibility that the stones themselves may sing the secrets of the ages. As we continue to explore the intersection of art, science, and spirituality, the Rosslyn Chapel remains a beacon of wonder, a silent symphony waiting to be heard.
Historical Images of Rosslyn Chapel
‘Capella de Rosslin’
by John Slezer – 1693
Originally published in Teatrum Scotiae, 1693. This engraving shows a view of the south elevation of the chapel with figures in the foreground. An inscription to the top left of the plate reads ‘This plate is most humbly inscrib’d to ye hon’ble George Baillie of Jerveswood Esq’r one of ye Lords Commissioners of ye Treasury’. The engraving depicts statues within the carved niches of the square sectioned buttresses; however, it is unlikely that the niches ever held statues, and their inclusion is almost certainly an addition by the artist.
© Courtesy of HES (Rosslyn Chapel Album)- http://canmore.org.uk/collection/2581594
‘ Engraving of the South Elevation of Rosslyn Chapel’
by John Gellatly – 1835
Inscribed “Rosslyn Church, Ante 1700”. Engraved after original drawings held in the Advocates Library, Edinburgh. The engraving depicts statues within the carved niches of the square sectioned buttresses; however, it is unlikely that the niches ever held statues, and their inclusion is almost certainly an addition by the artist.
© Courtesy of HES (Rosslyn Chapel Album)- http://canmore.org.uk/collection/2581616
Collection of papers relating to Rosslyn Chapel, Midlothian, Scotland
A collection of drawings, manuscripts and engravings assembled by publisher and antiquarian John Britton (1771-1857) relating to the architecture and restoration of Rosslyn Chapel. 12 drawings by Joseph Gandy, 3 by David Roberts, and one by John R Thompson, Custodian of the Chapel. The collection includes letters by William Burn and George Meikle Kemp, and also letters by David Roberts criticising William Burn’s work on the chapel.
Sources
- “The Cryptic Code of the Hidden Masters” by Thomas and Stuart Mitchell (2007)
- “Rosslyn Chapel: The Story So Far” by Alan Butler and John J. Ritchie (2006)
- “Cymatics: The Study of Wave Phenomena” by Hans Jenny (1967)
- “The Rosslyn Repository” by Peter Halkin (2000)
- “Rosslyn Chapel: A Guide for Visitors” by Rosslyn Chapel Trust (Official Guidebook)
