The Drawings


Here You find all drawings ever found/discovered in any of the original diaries. However I doubt the list to be complete, but this is as far as we "grailers" are right now (June 2004).

Remember Diary pageorder are listed under "Step 2 - Tekst and pageorder".

Some of the pics are not as clear as one could wish, but in these cases Youīll find an extra link to a better resolution right next to the shown picture. This link is marked "EXTRA PIC".

Next to the tumbnail-pic is written the text that goes with the drawing (in yellow) along with the comments from (late?) "Henry Jones Sr.", Spain.

You will find some "invented" pictures that You may find usefull, but they are not located (as far as I know) in any of the original Diaries. These are marked with an (*) after the title.

All drawing are placed in alfabetic order to make it a bit more easy to manouevre.



1899 Dollar set: In the left page, copied from Matthews' book, page 29, Henry is talking about the earthly home of the Grail, the Grail Castle. Following the chronological order that I have been mentioned: what better place than this spiritual no-man's-land, between this world and the next, at a slight remove from reality but still 'historically' attested to, for the earthly home of the grail, sometimes called lapis exulis, which has been interpreted as the wish for Paradise? It is precisely here that Wolfram places it, by inference if not in actuality, by making the eventual guardian of the Grail Prestor John * said to be 562 years old! The next page's text is also taken from John Matthews' book, this time from page 67, and it has been repeated several times throughout the diary: The grail is flooded with spiritual light and shines out of those who seek it. The next paragraph is from page 64 of the book: The true and proper home of the Grail is Paradise, the perfect realm of the spirit where the Priest King John, its last guardian reigns benignly from his castle within the garden of Earthly Delights. The rest of the text is covered by a 1899 silver dollar cerificate used to mark Indy's birthday, but it can be easily reconstrcted to be One of the meanings attributed to the words Lapsit exillas, used by Wolfram Von Eschenbach to describe the Grail is the "stone of exile" (from Paradise) and by extension the "wish for paradise" . There is a high resolution photo of this dollar in the inserts section. An interesting note about this page, is that in the movie order, this page comes just after the Takt-i-Taqdis map set. This is a very funny coincidence because the two pages could be easily connected. The takt-map set is just a drawing of the Takt-i-Taqdis, and the text in it is unknown, but however, it is surely talking about the Takt. So, after Henry has talked about the takt, he notes "what better place than this [The Takt] spiritual no-man's-land..." the text in Matthews does not talk about the Takt, but of Prestor John's Kingdom. However, this text would fit in the Takt background quite well.


Black Stone Floorplan This page was recently discovered in a pic sent by the owner of an original prop which was being sold at e-bay. At the right page, Henry retolds the Cuer story, and at the left page is a floorplan which could be of the first level of the tower of the Chateau de Vincennes, near Paris, France. The text besides this floorplan is from Matthews (p19): There is still another stone that could have influenced Wolfram's conception of the Grail. This is the Black Stone, sacred to the Islamic religion, which stands at the centre of Mecca. Like the emerald which fell to earth, the Black Stone was believed to have been a meteorite which fell out of the sky in the distant past. Below the floorplan is some more text which cannot be made out, it may be the next line in Matthews: It became an object of worship until the time of Mohammed. EXTRA PIC


  Crucifixion Mandala: This page, shown in the film during the flight to Venice, shows another crucifixion scene where Ecclesia is catching Christ's blood while St. Longinus watches. The picture and text are from Matthews (p15): Flemish 12 Cent. Time stands still in this Christian mandala, as the old and new dispensations Christianity and Judaism assemble to witness the redemptive sacrifice. Ecclesia (the Church) raises her cup to catch some of the grace-bestowing blood, while Synogoga (the Synagogue), riding on an ass, bows her head. Next to her is the lance which pierced the side of Christ. Note: The picture above is a digital reconstruction of the original page. The opposite page is the same as the vertical text in the Rockslide Page: The familiar theme of quest recurs in the Livre du Cueur d'Amours Espris in the search of the Heat (symbolized by the knight Cueur) for Grace, a lady of great beauty. It is set in the same sort of mysterious world through which the Grail knights roamed, and Cueur and his companion, Desire, undergo many adventures, among which is their discovery at night of a murky stream. Cueur drinks from it and pours some water back from the cup onto the stone, whereupon a terrible storm breaks. It is not until the next morning that Cueur reads the message on the slab, which promises misfortune to him who drinks, and warns of the effect of pouring water on the stone. As in the story of the spring of Barenton, the theme is one of transformation, in both instances caused by the application of water. EXTRA PIC.


Crucifiction Painting: This page is only shown while Indy is searching his father's ransacked house. He sees the picture in the diary then looks up at the painting on Henry's wall. This page looks to be photocopied directly into the diary, not hand-drawn. Opposite this page is the following text from Matthews (p10): It is possible to see behind the story of Taliesin echoes of a mystery religion in which a sacred vessel played an important part.- Perhaps like the ritual depicted on the walls of the Villa of Mysteries at Pomeii (second century AD) where the initiate was offered a cup prior to undergoing tests which, if successfully completed, would impart to him the tenets of the inner life. Possibly an alternative to a mystical feast echoing that partaken by the Grail Knights. ie Kernos Note: This is the same text as shown opposite the Map of the Mountain Road page which contains Adolf Hitler's signature. This picture was originally taken from the Book of Hours of Yolanda de Lalaing (c. 1450) and is Flemish in design (thanks Drakh). You can see a scan of the original here. The picture is also featured in the book Complete Guide to Illustration and Design by Terence Dalley and is avaible at


  De Borron Set: This page is shown on the back of the 1989 Last Crusade computer game. It is shown opposite the temple map with the falling rocks. The text at the top is incorrectly copied from Matthews (p11): Robert de Baron was the first of this ??? writers to add significantly to the Corpus and by the time his Joseph d'Arimathie appeared in about 1190 The text continues at the bottom paragraph... The Grail had become firmly identified as the cup of the Last Supper and the vessel in which Christ's blood had been caught. The first part of this should read: Robert de Borron was the next writer...
Below this is: Seen at the same time as the window illustration and to the right of the knight is: Cup held by knight at the 2nd (Pillar?) from Left These few words cannot be read clearly.
The picutre shown above is a digital reconstruction of the original page. The Larger version was made from a drawing traced from a scan of the original, obscured page.
The image in this page could a modified drawing of the Shrine of St. Peter the Martyr, in Rome. At least one of the columns would have been changed to become the knight shown above. The statues at the very top have also been changed into simple crosses. EXTRA PIC and another one EXTRA PIC.


 Dead Sea map: The text in the left page is the same as in set 3 (The story of Lycurgus) In vertical text, "The path of the grail is inextricably bound up with sacrifice. The blood of the victim contained in the cup wich becomes the means of healing" above the shield, which has the cruciform sword in it, the story of Lycurgus continues from "Lycurgus, in a fit of madness killed his son Dryas when he mistook" In the sword, the text reads: GOD IS LOVE. Next to the shield, there is an arrow pointing to it and the words Shield from south trancept. Then, below the sword, the text continues as in set 3: The theme of sacrifice is shown by that of spiritual attainment, whether through imbibing blood or the sacred drink of Eluesis from the Kernos. Each of its 8 cups contained one of the elements of the divine draught.
The map in the next page is of the southern region of Judah situated around the Dead Sea, located about 1300 feet below the Mediterranean Sea. The top of this map would be pointed roughly NorthWest (in other words, a compass rose would be pointing toward the upper right corner if situated in the center of the map). Several place names are given: Maderah, Weljeib, Buseireh, Jebal and a Roman Road is situated in the eastern portions of the map. A couple of the place names are illegible, one of them running right into the binding of the book. Again we have a quote in the Computer Game Diary where Henry's traveling to the Holy Land is mentioned. This page could be placed there if following a logical order.  Resently there was a "full map" discovered. However the source is not all clear, and it is only in a low resolution, but You can see it here. The text on this one goes appx. like this starting from top : 


 Franciscan Friar*: An invented picture showing a stained glasspainting of the franciscan friar who was tolded about the location of the grail. Iīve added some clues so that Henry actually would have found it worth while to do the copy. Rembember he didnīt do it to have something nice to look at - no, he did it to file all clues and teories he came across. The text goes: A discription? and The franciscan friar heard about the whereabout of the Grail.


Galahad, Perceval and Bors*: These where knights at King Arthurs court, and was the knights that finally saved Camelot and King Arthur himself by finding the Holy Grail. The text is my invented and it goes: The finders of the Grail: Galahad, Perceval and Bors. Their last meeting in this world. EXTRA PIC



  Grail Mass & Omphalos: The first of these two pages contain a print of what looks like a stained glass window, which is, as of yet, unidentified, although it seems it is a depiction of Ecclessia, a women symbolizing the Christian Church. For more on this click here. The text besides it comes from The Grail: Quest for the Eternal, page 14: In the Quest del Saint Graal at the moment when Galahad enters Sarras with the Grail, the text refers to the Mass of the Mother... a few other words can be seen in the archives photo. By using the original text the entry can be reconstructed: ...of God being sung in the cathedral. Specifically to "Mystery of the Grail." Possibility of a Marian Grail cult at Glastonbury connot thus be ruled out. The insert accompanying this page contains a light pencil sketch of a land feature, similar to the canyon on the "map with no names", and a half drawn Brotherhood cross. To find out more about this insert, please head to the Inserts page.
The opposite page is copied directly from Matthews (p31). The picture is a drawing done by L.I. Ringbom in 1951, an anachorinistic image in this diary, as the quest was completed in 1938. It seems that the drawing was photocopied and enlarged, into the book. The text is easily read as: The Omphalos in Jerusalem. Representing the centre of the Christian world as a vessel containing a stone. EXTRA PIC


  Grail Vision*: This is one of mine invented pictures. I feel it catches the feeling Henry Jones Sr. discribe when he talks about his vision about the grail - the vision that leads him to a lifelong pursuit of this relic. The text that follows it is the words from his vision: Henry Jones, as Knights of old sought this treasure, so shall You


   Gulf of Aqaba Map:  This page was also sent by the seller of the Grail Diary auction. It shows another map of the Dead Sea region, with the Gulf of Aqaba near the bottom and a little of the Mediterranean Sea in the upper left corner. The text on the opposite page is from Matthews (p28): For here we have all the elements of the Grail story: the temple on top of a mountain surrounded by water, the vessel containing a sacred relic; miraculous events which take place regularly at the same time; the blessing received by those who are true adherents, and the dire effects upon those who are not.
Even the twelve monasteries around the lake are reminiscent of the Round Table with its (originally) twelve seats.
The vessel surrounded by chains recalls the magic bowl in the Yvain story, which caused a storm when water from it was poured over an emerald.


  Iron Cross: As Indy flips through his father's diary, this page can be seen, showing a close up view of the stained glass window shown in set 11. The text on this page can be read clearly from one of the photos of the prop. Above the iron cross is written: Based on Maltese design. At the top right is: Very similar stained glass window. Below this sketch are the words: Shows detail of front face of a church which has four bell capped pillars joined by Norman arches - steps behind leading to upper gallery.
A. Shows deatil of cross
B. Bell capped pillars
NB: I am not certain what page is to the left of this page. In the Williams Collection prop it was a repetition of the Knight with the cup page, but it seems that in the prop used in the scene where Indy opens the diary, it is almost certainly text, so another page from the diary has been used in this reconstruction.


  Jesus and the Grail*: This is a picture showing Jesus with the Grail. It fits into the Diary, as Henry need to get all the information about WHAT the Grail really are. Therefore he writes: Grail image 14 th Cen and Note: Plain ordinary cup.


  Josephus with the Grail
This page is seen briefly when Indy is searching for the Venice Stained Glass Window at the Venice Library. There are three or four lines of unknown text on top of a sideways drawing, most of it black, with a central figure. According to Tom (...whiskey?), this page's comes from Matthews, pg 71, and represents Josephus, the son of Joseph of Arimathea, giving the Grail to King Alain, its third guardian. It seems that the drawing is on the middle of the page and there are two or three figures while the rest is partially obscured. Also, this drawing doesnt seem to represent the entire image from Matthews, but a cropped version.


  Knight with cup & Melchizadek: On the left page, we see another knight, shown beside a ciborium of some sort covered in low relief scenes. In the upper left corner is text from Matthews (p13): The only really significant medieval texts to succeed Wolfram were the anonymous Perlesvaus C1225 and in the upper right corner continues more from the same page: In particular there is the statement (mysterious) that the Grail undergoes five (5) changes in shapes of which only the fifth a chalice is named. The text continues: Malory, who is the last of the true medieval romancers wrote what is probably the most famous Arthurian work; but his concerns were very different from those of his predecessors. Written to the left of the knight is: Note: the same style of chalice on the knights shield as the one found in the temple by me.
On the next page, we see a picture from the window in venice, this time of a woman holding a book, although the text accompaining this drawing talks about melchizadek, who was not a woman. At the base of the drawing there is a number (VXI) with no sense, as it means 5 before 11 which is 6 and could easily have been written as VI. This is probably a mistake of the prop man. The text is: Window Melchizadek foreshadows Christ in his offering wine as the token of his peoples blood. He, like the guardian of the Grail, is a priest and a King. St. Paul says of him that he is without father or mother or even genealogy and had neither beginning of days nor end of life (from Matthews' book, pg 69).


  Knights of the Quest & Defender of Faith: On these two pages are drawn a few knights who quested for the Grail. On the first page is a stained glass window (origin unknown) of two knights with a sword between them. In the upper corner is written: Window detail detail from the Nave, suggesting that this window was found in a church. A little lower is written: the two Knights appear opposite each other. Above the heads of the knights are scrolls with writing that is illegible in the diary. At that bottom of the window is: Corpus Christi (Body of Christ). Written at the bottom is text from John Matthews' book (p29), modified to fit with the drawing: Once again we see the habit of following the Eastern sources and rituals by placing the two knights in a Christianized framework.
On the opposite page appears a typical medieval representation of a knight. Above is a shield with a cross circled and labeled Maltese symbol, and beside the shield is noted the Turkish Crescent. Below the shield is more Matthews text (p7): Only three succeed in finding the Grail. To which is added: This is one of the participants. The "three" refered to by Matthews are Galahad, Perceval and Bors. Above the knight's right shoulder is a note: design of breast plates, besides a depiction of some sort of rod is: Defender of the Faith, and below this is: Probably 15th Century


Leap of Faith: This version of the "leap of faith" drawing has been seen in the Williams Collection and Christies props. Perhaps Henry first drew this pencil sketch and in the next pages he drew the detailed double spread. This version is, however mine, as the original scan is very poor! To the left is The Trap.


  Lycurgus & Falling Rocks: The first page contains some quotes from Matthews, pg 74&75: The path of the Grail is inextricably bound up with sacrifice: the blood of the victim contained in the cup, wich becomes the means of healing. Lycurgus, in a fit of madness, killed his son Dryas, whom he mistook for a vine stock, and his country became barren in mourning. It was only when Lycurgus when lycurgus what? This paragraph is from Matthews' book (Quest for the Eternal) the book says: "It was only when Lycurgus himself was brought to his death that the land flowered again" Henry seems to have a very bad mind, bad enough to leave a sentence incomplete and start writting in the next paragraph about a different thing, also from Matthews, pg. 75 "The theme of sacrifice is shown (the book says shadowed) by that of spiritual attainment, whether through inbibing blood or the sacred drink of Eleusis from the Kernos. Each of its 8 cups contained one of the elements of the divine draught. At the next page, there is a drawing of a canyon and temple, and the text above the drawing says: Drawing I have made before passing through the rock obsticle encountered at the far end of the valley. You can go ten or eleven paces. There are some rocks rolling down the cliff face. At the bottom, Henry quotes Matthews' book (pg. 68) The grail had many precursors and takes many forms before it becomes identified with a chalice.


  Map of the mountain road: In the left page, Henry talks about the story of Taliesin, connected to the Mystery religions. It is interesting to note that the Computer Game Diary mentions Taliesin in an entrie when Henry is in the middle of an excursion in Wales. This page could be easily connected with that on the Computer Game Diary as Henry, in the opposite page mentions some kind of excursion and again this "we" (In the Computer Game Diary is Marcus Brody) The text in this page is: top of left page, in diagonal: It is possible to see behind the story of Taliesin echoes of a mystery religion in which a sacred vessel played an important part--- After that, in normal, horizontal text: Perhaps like the ritual depicted on the walls of the Villa of the Mysteries at Pompeii (second century AD) The words "second century AD" are underlined 5 or 6 times. After that, where the initiate was offered a cup prior to undergoing tests wich, if succesfully completed, would impart to him the tenets of the inner life. And then, the last paragraph says: Possibly an alternative feast echoing that pertaken of by the Grail Knigths. ie Kernos. All this text is copied with some modifications from Matthews' book, pg. 10. The opposite page also supports Indiana Magnoli's theory that there seems to have been some sort of excursion where Henry, presumably along with some others (as he always refers to "we"), maps out their progress. In this map of the mountain road Henry and his team reach the stone wall. In the middle of the page, between two arrows, Henry notes that the Depth of the rock here is almost unpassable and at the bottom, wall of rock that confronted us during our progress up the mountain road beyond the first overnight stop. This is also the page where Hitler signed the autograph at the Berlin scene in the movie. Check this link if You want the autentic signature. Click here.


  Map showing hidden Temple:  This map is seen in the Diary during the flight to Venice. To the right we see another text from Matthews. To the right it says: You can go about fifteen paces. And: The Grail temple is here beyond the rock obstacle. In the buttom it says: Drawing of the rock obstcale that may be encountered at the far end of the valley.


  Map With no Names: Interestingly, the famous "map with no names" does not appear in the archives book. It is a shame because there is clearly writing on this page, but it is not shown well enough on screen to read. The description given by Marcus Brody gives as much information about this page as does the stills from the film. There is an oasis with a river running south through a range of mountains to a crescent-shaped canyon (although it looks more like a crescent-shaped mountain in the sketch).

Using the prop photo at the right and some scans from the movie, some text has been reconstructed. The text in the upper right corner of the right page looks like: Due East from the great Oasis, three days south to the foothills of ? The text that covers the bottom portions of both pages looks to be something like: Two days across the Salt desert to the pinnacle rock that is North East to the plain and these two peaks pass to the Canyon of the pinnacle rock

There is also more text in the opposite page, as seen in the screenshot at the left. This text is unknown, and the one used in the reconstruction shown above was invented by Indiana Magnoli, and is: Western coast of an unknown desert. Nearby is a city mentioned by the knights. And near the middle of the page: canyons and mountains.


  Obstacle & Cruciform Scrap: This is another of the "rock obstacles" pages in which Henry continues his trip, although some of Henry's words seem to imply that this was the start of his excursion. In the first page Henry has drawn a topographical map of a valley with a narrow pathway leading to some structure near the center. At the top he notes: This very quick sketch map was made by me during the last days of the month. He points out near the pathway: many obstacles are apparent here and he gives his thoughts at the end of the entry: I suspect a lake or dam will protect the entrance to the final pathway but this will only be evident when the stone wall has been breached
On the next page, There is a sketch of a piece of paper. At the top, This fragment is kept with many papers and maps. In vertical text, This sketch is the same size. Next is the following paragraph: I found this fragment in one of the books and amongst the papers and maps in the old trunk. I'm sure there is a connection with my previous discoveries which could well be a key. Then, there is a Note I could say the design is repeated.


    Prester John *: This image has been used by several replicamakers, and it fit right in as Prester John was the gardian for the Grail.Prester is an old word for priest.

      Prester John (part): This image is a part of the above - just that is has been digitally modified. And this picture was beyond any doubt a part of the Diary. It can be seen when Henry read onboad the zeppelin. Clik here to see.


  Rock Slide: On this partially obscured page is shown another rock obstacle (Henry seems obsessed with rocks). The text on this page is from Matthews: (p67) The Grail is flooded with spiritual light and shines out to those who seek it. (p64) The true and proper home of the Grail is Paradise, the perfect realm of the spirit where the Priest King, John, its last guardian reigns benignly from his castle within the Garden of Earthly Delights. One of the meanings attributed to the words "lapsit exillas," used by Wolfram von Eschenbach... it is not clear how much more text is on this page because of the inserts. In the corner is the word: Unpassable. There are also a few numbers pointing to the rocks, but there significange eludes me.
This digital reconstruction will give you an idea as to what the full page may look like. The rock obstacle is probably sketched right across the page. Click on the picture to see a larger version of the reconstruction. On the left page is the story of Cueur, retold by Matthews (p61): The familiar theme of quest recurs in the Livre du Cueur d'Amours Espris in the search of the Heat (symbolized by the knight Cueur) for Grace, a lady of great beauty. It is set in the same sort of mysterious world through which the Grail knights roamed, and Cueur and his companion, Desire, undergo many adventures, among which is their discovery at night of a murky stream. Cueur drinks from it and pours some water back from the cup onto the stone, whereupon a terrible storm breaks. It is not until the next morning that Cueur reads the message on the slab, which promises misfortune to him who drinks, and warns of the effect of pouring water on the stone. As in the story of the spring of Barenton, the theme is one of transformation, in both instances caused by the application of water. Note: This last sentence is not included in the reconstruction, as it was recently discovered in a photo of the prop where this page is not obscured by any insert. EXTRA PIC


Stag & Top of window: In the first page, there is a drawing of a low relief stone sculpture copied by hand from Matthews' book, pg. 65. The text is also from that page. On the top-left corner, Sketch made on site. and on the right corner, Stone Relief, Italy 9th 10th Cent. AD Near the drawing of the stag is Inscription, although there is not an inscription in the original carving, and below it, are the words The Grail is the Spring of life, the vessel containing the promise of immortality. From it drinks the stag - simbol of the soul's thirst for god. On the next page, there is a sketch of a stained glass picture of Christ which seems to belong from the same Venice Stained Glass window. It belongs to the top of the window, a part which is not very well seen in the film. Above the drawing is written 14th Century Windows, the same date given to other representations of the window. Below is text from John Matthews' book (p16): Christ redeemed the sin of Adam; new light and life is contained by the "Grail-as-Chalice" image.


Stained glaswindow: This picture is partly seen in the "libary-scene" where Indy check the diary. The border to the left is without any doubt the one from the upper part of the stain window in the Venice Libary. Actually the all window is drawn in the diary, but being a vital part of the plot this comes as no surprice. The picture is traced from the DVDīs. The text is yet to come...




Stone Face: This page is only seen briefly in the film, and seems to represent a stone face and some latin scrolls. It appears to be some sort of carving of a knight's head with Latin texts, this Latin text is very difficult to make out; the one on the upper left looks like "cam laude" and below the knight's head may be "...dignus...". . However, there is text near the stone face and near the middle of the page. Indiana Magnoli has been able to read some text on this page: T... p... a ritual... and Chris Llewellyn has been able to read the text in the middle part of the page, which without doubt comes from Matthews, pg 81: Grail quest is the death of the physical body and the rebirth of the spirit into everlasting life.
And, a few words before this, in Matthews there is Tibetan skull mounted and provided with a lid is used as a ritual object. So this could be probably the text at the top of the page.
I have no idea what the text in the left page is so I have left it blank for this reconstruction.
For the drawing, Chris Llewellyn's version has been used. EXTRA PIC. And a high-res in a slidely different version.


The Sword: This picture is one that is featured in the CG-Diary, and itīs a drawing that fits in almost everywhere in the Diary. In my version I have added following: The maltese knights have always been a central figur in the legend and history about the Grail. And at the buttom: I do feel the key is to be found in the space around the crusaders. This was inspired by the malthese cross to the lower left.


  Takt-i-Taqdis & Sainte Chapelle: These pages contain some information on the architecture of the Grail Temple. The first page shows the three orders of Greco-Roman columns, Doric, Ionic and Corinthian. On the left of the page is written: The particular types of columns invented by the Greeks and Romans together with the lintels, caps and bases over them. Beside the Corinthian columns is written: Drawn by me at the temple of Takt-i-Taqdis; and below them text from Matthews (p82) slightly changed to: As long as it remained on earth, the Grail required a home and because of its spiritual nature that place was naturally a temple. Below the columns is a lightly drawn floor plan of a typical medieval church. This is supposed to represent the legendary Dome of the Grail and the historic Takt-i-Taqdis, both discussed in Quest for the Eternal. The floor plan for Takt-i-Taqdis is circular and looks nothing like what is depicted here. In the bottom-left corner is: Note Takt-i-Taqdis with its numerous arches laid out in a particular order. And to the right is: The Dome of the Grail ground plan. The date given to the plan is 18th C. probably from the elevation and ground plan by Sulpice Boisseree in that century.
On the opposite page appears a drawing from a medieval engraving of the Great Shrine used to house the Crown of Thorns at the Sainte Chapelle in Paris. Some of the background of this picture has a purple tint to it. The text to the right of the sketch is from Matthews (p67): The Grail is flooded with spiritual light and shines out to those who seek it. However like the treasure at the base of the rainbow, it remains beyond mans grasp. The note reads: Decoration of the top of this dwelling (not?) seen (elsewhere?). Lower text is from page 65: The Grail is the spring of life, the vessel containing the promise of immortality. Symbol of the soul's thirst for God. A Cornocopia, the horn of plenty and of physical renewal. On the far left of this page is a partial text from Matthews that has been cropped in such a way to leave the reader with a wonder about Henry's train of thought at the time. The text, as it appears in the diary is: In Greek myth the star represents Uranus because he was castrated. So? The text was taken from Matthews (p67) and should read: In Greek myth, the star represents Uranus because when he was castrated, drops of blood formed themselves into stars and were dissipated into rivers and streams. It seems henry had a very bad memory, as he has left unfinished sentences throughout the diary. EXTRA PIC. The church-floorplan is a bit hard to trace, but this will help You out.


Takt-i-Taqdis at the Centre of the World: Early in the diary is this image of Takt-i-Taqdis as the centre of the world, drawn by Lars Ivar Ringbom and shown in the Matthews book (p82). The text above the map is: So long as it remained on earth, the Grail required a home, and because of its spiritual nature, that place was a temple. Below the map: The history of the Grail temple is a complex one, involving many different images, among them that of the earthly Paradise. In 7th century Persia the Sassanian ing Chosroes II built a temple worthy of housing the relic of the True Cross. In one of the original prop diaries this page is shown opposite the "What better place..." EXTRA PIC.


  The Three Trials: These are very important pages for the plot, and probably this is the reason why they are the best seen pages in the film. Heny also gives importance to them, and he bookmarks them with one of the two Los Angeles Railyard Tickets contained in the diary. They give the clues about the three trials that protect the Grail. On the first page is written:
Tres numero erunt probationes (the challenges will number three)
First, the breath of god - only the penitent man will pass
Secunda, verbum Dei (second, the word of God) only in the footsteps of God will he proceed...

The text continues the text on the next page. This is one of the few pages in which the left page has something to do with the right one. The text in it is: Tertia, semita Dei (Third, the path of God) Only in the leap from the lion head will he prove his worth. Then, there is the drawing of a cup and below it, the words Poculum Lignarii (The cup of a carpenter).


  The Tree Trials and Knights: This is also a very importent picture, as Indy uses it towards the 3. trial (Leap of Faith). The text is: The path of the Grail is inextricably bound up with sacrifice. And in the buttom: Tertia semita Dei (Third, the path of God). However just under the walking knight is a text that nobody has been able to decode yet. Not even the release of the DVDīs has been able to provide any help. On the right side: Each of the 8 cups contained one of the elements of the divine draught.


The Trap: Again we have a drawing from the CG-Diary. It shows the divice that makes the first Trial a quite deadly one.



  Triangular Floorplan: This page is shown briefly in a couple scenes in the film. On the left page is clearly written text from The Mabinogion, which is taken from p28 of Matthews: A fountain with marble stone around it, and a golden bowl fastened to four chains, the bowl set over a marble slab and the chains extending upwards so that he could see no end to them....
he walked over to the bowl grasped it, but as soon as he did so his hands stuck to the bowl and his feet to the slab he was standing on, and his speech was taken so that he could not say a single word. There he stood.
The right page shows a late-period Roman Corinthian column, a triangular floor plan, an unknown drawing, some sort of stone relief with three crosses and what looks like a corbel. The text on this page is quite difficult to make out, but most of it has been read recently by Indiana Magnoli.
The text in the top left corner seems to be something like 
Detail of the decorated  style of capitol using a naturalistic leaf  or vine ornament. (Note: This text has just resently been remade, so the text shown on the photo is not correct!)  Above the relief with three flowers on it seems to be symbol from wing. The text near the floorplan may be, in part, from the fifth page of Matthews: The Grail became firmly entrenched in the imagination, the triangular shape with a round tower at each corner symbolizing the Trinity, God the Father son and the Holy Ghost. At the left of the floorplan, pointing to it with an arrow, there is some text which seems to be kind of a corbel arching.


 The Tunes to open the tomb: Realizing that this hardly could be a picture, Iīve added it anyway. It is the notes that is talked about in Sankt-Gallan, Switzerland September 4, 1920. There has been some talk weather Henry would have made the note on a napking or written it directly into his diary. I belive that Henry carries his diary/notebook anywhere so why write on a napking when You diary is right at hand. However if You prefere the "napking-way" You have a new insert. The same goes for the lyric in the "Purple Dragon" July 27., 1920. Here You have an insert if You belive that Henry left his notebook at home before going to the inn. Again I belive not - he had his notebook and he used it. The notes is, by the way, from a Beatles-song.



Two Knights: Again this is a resently discovered picture that was send from same source who brought an original Diary on E-bay. It is clearly a part of the stained window as seen on "Knights of the Quest & Defender of Faith". The left page writes: Galahad the stainless, virgin knight who was one of only three that
suceeded in finding the Grail and participating, to varying degrees, in its mystery.

 And to the right we have: Once again we see the habit of following the Eastern sources and rituals by placing the two knights in a christianied framework.


  The Venice Library: As Indy Said, X marks the spot! This double page image shows the whole room in venice, with the window and the X. The vertical text at the left seems to have been copied and modified from Matthews: For here we have all the elements of the Grail story. The stained glass window is the final key to the mistery The numerals must be the clue which we have long searched for in vane. Below the first set of columns is The stained glass window that requires further research. and pointing to the last stone lion, The lions refered to by the Knights This is quite a strange note, and although it is known that the movie prop had absolutely no order, if the pages were to be placed following a logical, chronological order, this page will be probably near the end of the diary, I even think Henry drew this page at Venice, just before sending the diary to Indy, perhaps to give him some clues on where to find the catacombs. This would explain all the notes in this page where Henry talks about "we" and gives information on what to research.


  The Venice stained glass window: This is an important page for the plot. We can see Henry copying it at his 1912 house from a manuscript. At the left page we see a drawing of a crusader in a stained glass window. The text says in the upper corner: part of stained glass window in venice 14th C. It is probable that this note was added later as Henry knew of the window in 1912 and started to suspect about Venice in 1938. At the left of the window it says a part of the Franciscan friar's manuscript mentions the knight of the Grail... possible link? opposite to it, near the shield, note the crosses on the shield and at the bottom, with an arrow, words in latin. note fig 7...marker?
In the next page we see some roman numerals, a stone lion, a knight, and a detail of the shield. The text near the 3 (III) says Part of a decorative scroll in a 14th Cent. Manuscript with a note beside this particular number 3. Next to the 7 (VII): in another section of the same manuscript, this number 7 is marked and before the 10 (X): in stone. Between the X and the lion are the words 12th Cen.?? and below the lion: upper floor supported by stone lions above the shield are the words On a window in Venice This night appears with shield quartered showing the Cross. Again we have an anachronistic note. There is a possibility that the whole room was depicted in the manuscript Henry was copying from in 1912, and that this note was also added later.


  Wilderness of the Wanderings: On this page is shown the very bottom of the stained glass window, although different Roman numberals are used: XVIII, X and XXXII. Above the XVIII is written The number must have some reason of time or space and below This is 18. Next to the V: could easily have a sing (singular or single?) particular reference Below the XXXII is simply 32. This page also shows Henry attempting to work out the mystery of the Roman numerals; in the upper right corner he adds 18, 5 and 32. After writing 55, he crosses it out.
The next page seems to be another of the "rock obstacle" pages which talks about Henry's excursion. There is a map, labeled This Wilderness of the Wanderings, supposed to be an old map found by Henry. He has copied it into his diary as a reference: On coming in from Alexandria. This old map may be of help- topography could have altered. He points out by a dotted line: This could be an obstacle. Is this the rock wall? A path is also shown leading past some steps into a smaller pathway. Beside another dotted line Henry writes: Route taken at the last attempt. Could this mean that the map had come in handy and this was the route the used during this excursion?


The Window: This is a picture originally from the CG-Diary. I have, however, added some minor details that makes it relevant to put in the Diary at all. The text is: The Cross could be or point out a connection  - Must investigate in Italy and Note the Cross. On the other page: Cross! See the original picture here.