Royston Cave – Codex of the Knights Templar
Ellis C Taylor
Brian Allan

In the small town of Royston, Hertfordshire, there stands a stone that signifies the intersection of two straight roads orientated to the cardinal directions. This ‘Roi Stone’ or ‘Rose Stone’ has been moved a short distance to rectify hindering traffic, but what remains in the same place is the artificial
Dan Green:

Royston Cave – Codex of the Knights Templar

© Dan Green 2008
The ‘Roi Stone’ or ‘Rose Stone’



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Baldock. To this day the carvings, suspected to tell a story best kept secret, remain open to interpretation, apart from a singular and reservedly conventional attempt. More excited devotees of the KT, who prefer to view the Order as one who were custodians and guardians of a great secret and who had somehow gained an access to knowledge way ahead of their time - ‘a complete and absolute knowledge’(obviously related and allied to the explosive secret they kept) - still await an induction into the ancient hieroglyphic language of the ‘Rabbit’ and how Druids and the Templars used this veiled and coded language to communicate. Perhaps, employing what amount I do know of this codex, the time to brave a wider scope attempt to have the story of this well preserved frieze at the Royston cave, is now. We are going to see how the Templars code hid the very thing that the Roman Catholic Church  feared discovery of the most – the workings of the female body, and a sacred marriage of Jesus and Mary Magdalene, the woman they character assassinated to paint as a ‘whore’, and in doing so desecrate the concept of the sacred feminine and the spiritual act of the Heiros Gamos. To initiate us into how the Rabbit language works, we shall look at the  symbol of the Templars, two knights sharing one horse. If we
cave below it, a circular beehive-shaped chamber some 26’ high, with a 17’ diameter, discovered accidently in 1742 by workmen who dug around the curious stone and discovered a shaft leading below into the chalk. It was more than half buried beneath soil, similar one might say to a time capsule, and when emptied revealed medieval carvings of the Knights Templar, who founded nearby
resort to the code, and ‘say what you see’, this will transform into ‘Knights (2) on a horse’ and furthermore into ‘Knights to honour whores’….in an ironic statement to play the Church at their own game by returning what they had instigated as a negative term and desecration of women in general. In more nobler terminology, the Templars were to honour females, and in particular keep the secret of the Magdalene and the Grail.
Hoping that nobody will be too offended if I bypass most of the orthodox assertion regarding the carvings, I will move straight into 'the Rabbit language' of visual puns and play-on words (similar to the popular British TV programme ‘Catchphrase’). The pictorial record starts at the right hand side where we see some figures involving a crucifixion and leads us into a figure seemingly holding a sword pointing to a further twelve figures above.
Knights Templar seal
The interesting feature here is that the ninth ‘figure’ along squeezes in, unlike all the fairly regularly spaced others. The reason is because we are not looking at a figure or person at all. The shape of the ninth representation is that of a biological spermatozoa, and it is situated in 9th position to draw
attention to the illustration not being of twelve people but twelve months, and with the sperm being drawn attention to at the 9th month we are here discussing gynaecology and pregnancy. The figure is not holding a sword as one would automatically think. It is intended to be perceived as a beam..a ray..a shaft of light…the origin of the word ‘beam’ coming from the Anglo-Saxon and meaning ‘tree’ ‘stock of a tree’… a ‘stock’ from Old English stocc, a stick, is the rooted trunk that receives a graft, and
Sperm cell
also means family, ancestry, descent. A  ‘graft’ is the place of junction of stock and scion..’scion’ a word from Old French ‘sion’, ‘scion’, meaning a young member of a family, a descendant, an offshoot. To the right of the figure holding the beam is a defaced circle which upon closer inspection  resembles a biological cell.
Alongside the twelve month calendar we see a two rowed section with 15 along the top and 16 below it.
The total designates a calendar month of 31 days. The bottom line shows us scored vertical marks in sections number 17-22, both numbers key to mystery of Rennes-le-Chateau. In pregnancy the corpus luteum begins to develop on the 22nd day. (When a woman ovulates, the egg bursts from the follicle, and what is left becomes corpus luteum.The luteul phase is the 2nd half of the menstrual cycle). There is a figure at the bottom left of this monthly calendar, allegedly Templar Grand Master Jacques
'The fallopian tube or oviduct'

Please click on the image
bio cell
Molay being burned at the stake, or on fire. However, what we are meant to see is a figure ‘on heat’, the phase when a female is sexually receptive ‘in heat’ or ‘on heat’. The puzzling illustration below this is another table with five graduations - with more to the right than the left and with a period or interval between - which shows us that the fertile period starts 4-5 days before (more) ovulation and ends 1-2 days after (less).
We move next onto a figure associated with a grid, and it is St Lawrence who is said to have been martyred on a gridiron. The story goes that Lawrence was dispatched with the Holy Grail amongst other treasures of the Roman Catholic church and that he sent it to his parents in Spain where it lay hidden and unregarded for centuries before finally arriving at a monastery for safe keeping. The figure below Lawrence is an example of
‘say what you see’, it has it’s hands up in the air, or is a figure ‘up in arms’ at the above suggestion of Lawrence being Grail custodian. Alongside Lawrence is the Holy Family,
but not as we regularly know them. The secret of the Templars prefers Jesus, Mary Magdalene and child.
Below them we see not a horse as some think, but a dog, the symbol of the Dog Star ‘Sirius’, which stares over at the centre of the cross of a presumed sword in the same way as Mary Magdalene stares at the centre of the cross in the bas-relief in the RLC church. Between them is a figure with exaggerated vulva. This figure is Sheela-na-gig, a Celtic figurative
The dog and the Sheela-na-gig
carving of naked women displaying exaggerative vulva, who is associated to 'Caillech Bhaerra' who was blinded in one eye. The tribe neighbouring the Dogon, the Bozo, called Sirius B, ‘the Eye Star’, and
The apparent sword, as there is no scale to go by, is a dagger, and a dagger, in printing, is also a ‘mark of reference’, to draw attention to the Sirius connexion. The next illustration shows us a bud, a knob-like shoot, or offspring.
if we look closely at the only other scored out and defaced circle in the vision of the dog we can see it duplicates the orbit of Sirius and Sirius B.
Holy FamilyMary and ChildNine MonthsWedding release
Please click on a picture for a larger image
There is an even greater irony here and little wonder that the imagery is interchangeable - many of Christopher’s earliest images, show him as having the head of a dog again hinting at a Sirius connexion. The staff she holds can be viewed as testicles with erect penis. Below this sepulchre and Mary with child scene is a larger gathering of people which is telling us that there are many people who are aware of this story, the marriage of Jesus to Mary and a resulting child….the secret held by the Knights Templar and recorded  for posterity in a once concealed  beehive shaped cave  26’ below the ground at Royston, the symbol of the bee, we learn, being one of the two most common Dogon symbols.

© Dan Green 2008
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Ellis Taylor
Alongside the Holy family to their right is a female figure. Her left arm and hand, we are told, holds a wheel, but instead we can see a representation of a fallopian tube, also known as an oviduct, which leads from the ovaries into the uterus. To her right there is a crucifixion scene with a hand containing a heart on either side. The hand is to be seen as being on the heart, to reveal the idiom ‘hand on heart’ for if you put your hand on your heart and say something you say it knowing it is the truth. With Jesus responsible for fathering a child with Mary, we are being informed that he survived the crucifixion, and this is the truth
known and kept secret by the Templars. Below this scene we see a gathering and a figure being taken down from the cross. To the right of the main crucifixion scene there is the sepulchre with Mary Magdalene sitting on a rock. Above the sepulchre there is a hand appearing to release a dove and a falling object. The ‘Hand releasing dove’ is a common wedding release ceremony in which bride and groom hold two doves which are then released together. The object falling appears to be an egg or yolk (the non-living material contained by the ovum) again indicating that Jesus and Mary were married and that a child resulted from their union….the corpus luteum we learned of earlier in the calendar section of the frieze, or, as Rabbit Language would have it…’corpse….loot…tomb’ -corpus luteum - as Jesus’ body was removed from the tomb by his bride. Next to this amazing pictorial representation we see a woman carrying a child. Those who would prefer the conventional argument that it is the traditional representation of St Christopher should know that this Templar carving predates that particular Christopher image.