“We first read of the appearance of the Grail as an aftermath to the story of the Fall. It is said that the Grail was entrusted to Adam at the beginning of time, but that after the Fall it remained behind since it was too holy an object to be taken into the world. But there is a tradition that says Seth, a child of Adam and Eve whom the Gnostics revered as a hidden master, made the journey back to the gate of Eden in search of the sacred vessel. He was permitted to enter and remained for forty days, at the end of which the Grail was given into his keeping, to serve both as a reminder of what had been lost and as a sign of hope and redemption to come, though this remained unrecognized until the time of Christ, when the symbol of the Grail as Chalice became established in Christian belief. What is most especially important here, as the Vulgate Cycle says, is that “those who possessed the Grail after (Seth)…were by this very fact, able to establish a Spiritual center destined to replace the lost Paradise, and to serve as an image of it.” It is this image that is represented by the Temple of the Grail, as a place where creator and created can meet and converse as once they had in Paradise.” - Arthurian Magic, John Matthews, Virginia Chandler
The Emerald Stone That Fell From Lucifer’s Diadem
Lucifer’s Diadem
Emerald stone
“In Parzival, Wolfram von Eschenbach, citing the authority of a certain (probably fictional) Kyot the Provençal, claimed the Grail was a Stone, the sanctuary of the neutral angels who took neither side during Lucifer's rebellion. It is called Lapis exillis, which in alchemy is the name of the philosopher's stone.”
- WIkipedia
The Grail as Green Emerald from Lucifer’s Diadem During the Fall
The angels of the grail
Angels who do not choose a side between Michael and Lucifer
In Parzival
“The Grail was made of the green emerald that fell out of Lucifer’s shining pearl diadem during the fall. The black Grail is thus a symbol of the lost whole and the golden Holy Grail is the archetype that heals division between the opposites.” - Alchemy, the divine work
Returning the emerald grail stone to the diadem of the ascended Lucifer - reintegration and healing of creation.
Sources of the Grail Legend
the trope of magical cauldrons from Celtic mythology and later Welsh mythology, combined with Christian legend surrounding the Eucharist,
Loomis traced a number of parallels between medieval Welsh literature and Irish material, and the Grail romances, including similarities between the Mabinogion's Bran the Blessed and the Arthurian Fisher King, and between Bran's life-restoring cauldron and the Grail.
The Philosopher's Stone: In alchemical symbolism, the Philosopher's Stone is often depicted as a vessel or container that transforms base metals into gold and grants immortality and spiritual enlightenment to the alchemist who discovers it.
The Cup of Jamshid: In Persian mythology, the Cup of Jamshid, also known as the Jam-e Jam, is a magical cup that grants wisdom and immortality to those who drink from it. It symbolizes enlightenment and divine knowledge.
The Cup of Soma: In ancient Indian texts, such as the Rigveda, Soma is a sacred ritual drink associated with divine insight, immortality, and enlightenment. It is often described as a cup or vessel containing the elixir of life.
The Cup of Christ: In Christian tradition, the cup used by Jesus during the Last Supper is known as the Holy Chalice or the Holy Grail. It symbolizes the blood of Christ and the promise of salvation and spiritual renewal.
The Fountain of Youth: While not explicitly a cup or chalice, the Fountain of Youth from various mythologies and folktales is often associated with a magical source of water that grants eternal youth and vitality to those who drink from it.
The Cauldron of Dagda: In Celtic mythology, the Cauldron of Dagda is a magical cauldron that provides an endless supply of food and healing to those who partake of it. It symbolizes abundance, nourishment, and spiritual regeneration.
The Cup of Hermes Trismegistus: In Hermeticism, a cup or vessel is often associated with Hermes Trismegistus, the legendary figure credited with founding alchemy and Hermetic philosophy. The cup symbolizes the transformative power of spiritual wisdom and the quest for divine illumination.
The Cup of Dionysus: In Greek mythology, Dionysus, the god of wine and ecstasy, is often depicted holding a cup or goblet symbolizing the intoxicating and revelatory nature of divine ecstasy and spiritual liberation.
The Cup of Apollo: In Greek mythology, Apollo, the god of prophecy and healing, is sometimes associated with a sacred cup or vessel containing the waters of inspiration and enlightenment. It represents the gift of divine insight and the pursuit of truth.
The Cup of Odin: In Norse mythology, Odin, the All-Father and god of wisdom, is said to have gained knowledge of the runes by drinking from the Well of Urd. While not explicitly a cup, the well serves as a vessel of mystical wisdom and enlightenment.
The Cup of the Magi: In Persian mythology and Zoroastrian tradition, the Magi are said to possess a sacred cup or vessel containing the elixir of immortality and divine wisdom. It symbolizes the pursuit of spiritual enlightenment and the quest for divine truth.
The Cup of the Goddess: In various pagan traditions, the cup or chalice is associated with the divine feminine and the sacred mysteries of creation and fertility. It symbolizes the nurturing and life-giving aspects of the goddess.
Tom Montalk - From his Twitter
Note that it was during Charlemagne’s reign (768-814 AD) that chivalry first appeared in Europe. Chivalry was a noble system of honor, bravery, and esotericism with non-Christian origins.
Chivalry only became Christianized in the late 900s, afterwards secretly retaining its “pagan” core. This pagan aspect came to a head with the Church’s persecution of the Templars (and the earlier Cathars) on charges of heresy. Many were tortured & executed.
On a related note, Rudolf Steiner tasked Walter J. Stein with investigating the true origins of Grail lore in Europe. According to Stein’s findings, it first appeared in France around 750 AD when a hermit living in Brittany received a divine vision accompanied by a supernatural book discussing the Grail.
Interestingly, Pepin the Short’s reign began in 751 AD, and the hermit may have been remembered (correctly or not) centuries later as the Cabalist Zedechias who summoned the Sylphs.
Stein also discovered that the Grail knights did historically exist (under other names like the Knight Hugo & Waldo of Reichenau) but they appeared on the scene earlier than conventionally assumed, namely in the 800s AD under Charlemagne.
This was the same time period that “The Comte de Gabalis” says Sylphs were interbreeding with human men & creating heroic demigod offspring (i.e. Grail bloodlines).
So, it looks like there was a cultural & technological infusion of non-Christian / NHI ways & means in the 8th & 9th centuries. Undoubtedly this could have occurred elsewhere in the world earlier in history too, for example among the Persians with earlier legends of the Cup of Jamshid and the noble order surrounding it.
It’s also worth noting that chivalry & knighthood cannot exist without cavalry (cognate of chivalry) and thus horses. So if you trace the origin of mounted cavalry you’ll find it goes back to Indo-Iranians aka Aryans. Thus, Aryanism is closely related to chivalry & Sylph influences.
If mass public contact by Sylphs was outlawed in France by Charlemagne and his successor, it may still have continued in secret with the elites of the time. The situation then would be similar to modern times with NHIs attempting mass contact in the 1940s and 1950s but, after deals were made, it scaled back and proceeded more covertly.
“They(the Templars) left behind a memory and a myth that has remained constant ever since—that they had become the guardians of a relic of huge importance to the Western world and dangerous to the church of Rome. For many, that relic was the Holy Grail, a claim that rests primarily on a single text within the Arthurian canon: the Parzival of Wolfram von Eschenbach. Composed at the height of Grail fever, the work was either based on Chrétien’s Conte du Graal or drew on closely related sources. Wolfram himself accused Chrétien of getting the story wrong and proposed a different interpretation, bringing his own set of “origins,” which were, startlingly, of the East rather than the West. Wolfram claimed to derive the essence of his work from a book by one Kyot of Provence, who in turn had it from an unexpected source: an Islamic teacher named Flegetanis, who was wise in the wisdom of the stars and wrote of a great war in heaven between the angels. Lucifer—whose name means, significantly, the Light Bringer, and who had not yet been associated with the devil—was the hero of this war. He wore in his crown a great emerald, and at some juncture—either during the fighting or in his fall from heaven—this became dislodged and, according to Flegetanis (as reported by Wolfram), fell to earth, where it became known as the Grail. This was all very different from previous versions of the story, and in addition, unlike the other versions of the story that had gone before, where the Grail is seen as a cup or dish, Wolfram describes it thus: ”A stone of the purest kind…called lapsit exillis…If a human sees the stone, even if he is sick, he will not die within a week…and if he sees the stone every day for two hundred years his looks will not change, though his hair might become grey.” This description has given rise to a great deal of speculation ever since the work first appeared. Wolfram’s use of Latin is inaccurate and cannot be translated exactly. It may be that he meant to write “lapis lapsus ex caelis (a stone fallen from heaven),” which would certainly fit the story of its falling from Lucifer’s crown.
- Arthurian Magic, John Matthews, Virginia Chandler