“In silver bound, beneath the ground, I am the Spiral Horn” are the final words of The Prophecy of the True Horn.  The full poem, found in The Unicornis Manuscripts by Michael Green, describes the resting place of an extraordinary treasure.  Since 1983, a silver bound spiral horn has remained hidden.  It waits for a worthy discoverer.

The clues needed to find this valuable prize can be found within the pages of the book.  In a recent interview with Green, he mentioned, “people are close”, but as of yet, no one (to his knowledge) has fully solved the hunt which would lead them to the unearthing of the horn.  As included in the 2008 version of the book, even if the site is located, the horn is said to now lie buried under water and may not be retrievable.  Still, the joy of the hunt can be said to be in the journey of discovery, as much as the final prize, and so the mystery of the horn (whether able to be recovered or not) continues to attract seekers.

It has been noted that some of the beautifully illustrated images of Green’s book capture the style of Leonardo da Vinci.  It would seem they may also express thoughts of another famous artist, David Teniers the Younger, as well.

Teniers (1610-1690) was born in Antwerp and followed in his father’s footsteps as an artist.  His work is admired by many.  In The Unicornis Manuscripts (Amber Lotus Publishing, 2008), page 70, there are portrayals of beasts inside an entrance of a cave which share characteristics to those of Teniers.   In Teniers, The Rich Man being led to Hell (shown on the right), Teniers depicts the entrance to Hell as being the mouth of a cave with hideous beasts and demons surrounding the doorway.  This arrangement is also noticed in Teniers’ (Dulle Greit) Mad Meg painting.  Beasts with beaks, skulls as heads, reptilian tails, bony legs, and horns, can be seen amongst the darkness.

These beastly features, at the cave entrance, are seen in Green’s book and the likeness to Teniers is noticeable.  The side reading to Green’s image describes these creatures, presumably ones of Hell, as those who ‘know the darkness.’ But, in the doorway of Green’s illustration, he draws and reveals the Unicorn with light flowing into the cave.

Hell is thought of in various ways by different people.  It would seem to me, as the end poem suggests, “Into darkness will I fade, into a night that Man has made”, a Hell or inner darkness could be created by each of us.  And it would seem, as a possible suggestion for Green’s image, the Unicorn waits to guide one out of it.

Another similarity between Green’s work and Teniers is noticed in Teniers’ The Temptation of St. Anthony (1644-46).  Teniers illustrates a tail slithering out beneath the lady’s garment (shown below).  This same detail is detected in Green’s image.  Does this represent the beastly, lower nature of man cannot be hidden beneath any garment a person chooses to wear?

 

Following the depiction of the beastly creatures in the cave, Green’s story includes a wonderful thought of The Unicornis Manuscripts.  It is, “First release the lesser things if you would grasp the greater.”  As I also enjoy the hunt of Maranatha-Et in Arcadia Ego and the Mystery of Rennes le Chateau (of which Teniers if part of), this reminded me of the message under the large bas relief of the Rennes le Chateau church.  It is similar to Matthew 11:28; “Come to me, all you who are weary and burdened, and I will give you rest.” It seems to me ‘the greater’ could be grasped if the lower natures or burdens are left in the darkness and one decides to walk in the light.