Attentive observers of old building drawings or photographs from the 19th century have, for their part, already begun to think about the mysterious building spires that sprouted from the roofs at the time and are hardly noticed today. Some consider them to be superfluous decorations and unnecessary rubbish. At best, they are suitable for putting a weathercock on them. It is proven, however, that in the past they enjoyed wide popularity, which was not only due to Historicism or Victorian buildings (Greco-Roman). As I will show later, even much more inconspicuous buildings here are equipped with lush, albeit less or not at all decorated antennas, whose meaning may be more urgently questioned.
The two enigmatically elaborately decorated ridge poles in the National Museum of Caen
Today I stumbled across two roof tops and a photograph in the National Museum of the Norman capital Caen, which literally had dust in one corner. The visitor is also offered an explanation:
„Starting in the 15th century, the pottery centers of Normandy all had bad to supply finials, but in the 16th century, potters in the Pays d'Auge made a speciality of producing work of the highest technical quality which had its rightful place among the most innovative artistic movements of the day.
In particular, they produced large numbers of roof finials in glazed earthenware made of several superimposed pieces combining the three techniques of turning, modeling and casting, with a magnificent polychrome finish. Aesthetically, these pieces, using the ornamental designs of the Renaissance, stood comparison with our contemporary lead finials. However, after riding the wave of construction of stately bomes during the reigns of Henry 4th and Louis 13th, this rich production seems to have fallen off in the 17th century.
Potters at other centers sometimes copied the output of the Pré-d'Auge but there is no really satisfactory technical explanation of roof finials, whether they be made out of metal (usually lead) or stoneware. A finial, especially if it is in ceramic, offers no demonstrably effective protection to the tip of a king post. The only "useful" purpose they sometimes serve is apparently bearing the weathercock fixed upon the spindle used as the axis of the stacked elements making them up. On the other hand, they certainly do have a decorative role, but one may also take the view that they originally served a magical function to protect the home.“
So here we are told that there is no real explanation for the way it works - apart from the decoration - and here we are referring to the tradition of a commune or region in Normandy, where serious efforts were made to satisfy a permanently high demand for such laces. Even magical functions of these facilities are not to be excluded. But perhaps that was just a way of saying that. After all, one is at a loss.
Roof tops of the former Rothschild villa Strassburger in Deauville (built at the beginning of the 20th century). Wikimedia Commons (Source)
Roof of the famous pottery of Mesnil-de-Bavent in the Normandy Pays d'Auge; Wikimedia Commons (Source)
Apart from the fact that the topic is not regional but international in nature - elsewhere we find the hint that the top topic goes back much further: such "roofing pieces" appear at least from the eleventh century onwards. Allegedly they were used to attach advertising signs, which I personally doubt. Until the 15th century, the end cap, which was then made of lead, was an unmistakable sign for the nobility, who used it in the same way as the coat of arms. During the Renaissance, the end cap developed mainly in the Pays d'Auge. First lead flasks were glazed, then enamelled plaster and terracotta flasks. This new method of production made it possible to create new, slimmer shapes. This development goes hand in hand with the development of the production of all types of ceramics in the factories of Pré-d'Auge. The tradition is therefore much older than the museum guards claimed (Source).
If you dig deeper, the first thing you notice is that there is actually no real term for these roof extensions in German. What the Frenchman sovereignly calls "Épis de faitage" does not find a contemporary German-speaking equivalent ad hoc. No wonder, since the term Giebelähre or ridge flower seems to have been forgotten in German language since the entry in Meyer's Großes Konversations-Lexikon, volume 6. Leipzig of 1906 (Quelle).
Apparently this term later went out of fashion or was radically removed from dictionaries. Some villas in Deauville from the beginning of the 20th century are apparently still equipped with these elaborately designed gable ears or ridge poles. The term "ridge pole" does not really fit either, as it is used today exclusively in tent construction.
The following figure is proof that quite impressive creations saw the light of day at that time. The dragon motif with a duck's beak and teeth as well as an impressive backbone was pierced by a roof ridge pole in the 16th or 17th century. One wonders which artist used which pattern here. The idea of the dinosaurs was not even born at that time..
Are there any hints and ideas in view of possible uses of etheric energies, which our ancestors knew, but we no longer do? Could constructions and parts of buildings like this antenna culture give information about this?
Numerous viewers of old photos and paintings from past centuries are expressing themselves in a similar way to this candidate here in social networks: "Well, every time I see these spiked antennas on all these old and ancient buildings, I think of the real reason why they were built to harness and distribute free energy, and that it provided a kind of healing process for people ...".
Pointed antennas and extravagant towers in all roof areas - Some with pennants, but all just decoration? Paris, Exposition universelle 1900, Hôtel des Invalides (Wikimedia; Source)
In fact, even before the introduction of electricity, such spiked antennas could be seen on old building photographs and paintings all over the world. They did not always necessarily have separate attached decorations as described above, but were relatively unadorned. In fact they rather remind of technical devices for whatever. And: No, a missing weathercock was certainly not the solution to the riddle. As in the villas of Normandy mentioned above, there were sometimes several antennas on one and the same building - but just as well without decorations - which make you think.
The topic is not limited to these striking and extremely common antennas of old or even antique buildings, which cannot be reconciled with flagpoles, weathercocks or decorative poles anyway. Sometimes they can also be found on sections of buildings, where sometimes additional bulbous spheres or coil-shaped terminations form the end or middle parts of such spiked antennas. What I could not verify myself so far: such spheres are said to have been completely or partially made of mercury. Is there an analogy here to thermometers, which are also filled with mercury?
Attentive observers and imaginative researchers speak of free ethereal energy, which could have been "harvested" even by the complete construction of churches resp. their towers and extensions, stupas, Buddhist temples etc. At this point, the resonating bodies of cathedrals, bells and huge organs are also attributed a corresponding meaning.
An attentive churchgoer once remarked in this context: "The last time I was in a church, I noticed that when everyone was speaking verses together, something was going on on an energetic level, ... I noticed that the spoken verses had embedded some kind of message or frequency that keeps people in a state of mind control... It occurred to me that the input/output of energy in this case could be reversed - in the form that instead of the antennas "bringing in" energy, they would be "bringing in" the frequencies into the environment.
Some of this becomes even clearer and refers to electromagnetism. Based on the assumption that wherever electric current flows, a magnetic field also forms around the conductor. Someone claimed: "My theory is that cathedrals are cathode halls, free energy stations. The antennas collect static electricity, which is stored in conductive dome cones or pyramids. When the bells are rung, the sound waves cause the spires to vibrate. This movement generates larger amounts of electricity and causes the tower to emit electrons in all directions at the frequency of the rung bell. Every hour, households and businesses would collect this wireless energy and use it free of charge". So at least he sees the purpose of such churches and cathedrals in "grey" prehistoric times.
After closer examination by amateur researchers, the principle of ethereal energy harvesting should even be explainable and reproducible by collinear antenna principles. This has to be checked and understood. For this purpose, this informative video of a committed Russian will be shown below.
Did the multitude of exciting antenna constructions of the past centuries pursue a technical purpose? Was it instead the expression of a cult unknown to us or is everything just pure coincidence? I personally do not agree with the idea of coincidence or decoration. What do you think?
Let's go back again to the at first sight "decorative" elements on the roofs of the splendid villas at the beginning of the 20th century and the handicrafts from Normandy. A Russian engineer, who has been studying these phenomena for some time, told me the following view: "The subject of such columns on the roofs is not an easy one. You can spontaneously divide them into two types - active and passive. Passive columns were hung with glass spheres that served to illuminate the surrounding space. On active columns there were iron spheres filled with mercury. A roof with such columns was a complex technical system at the time. Sometimes a kind of dome was used instead of the usual roof.
In the meantime, all pillars on the roofs have been completely replaced. Both glass spheres and spheres with mercury have been removed. Instead, there are spheres with "imitation" appearance."
I would like to leave the whole thing as it is, as I do not have any really conclusive evidence as to whether and how energy was generated at that time. There are a lot of photographs or drawings from the turn of the century (19th/20th) with impressive light, but some of them are a little older.
In Germany, the Café Bauer (Berlin) is considered to be the first building in 1884 to be illuminated by incandescent lamps, which were manufactured by Emil Rathenau according to Edison patents. Thomas Alva Edison presented the just patented incandescent lamps at the International Electricity Congress in 1881. In the meantime, however, it seems that in the USA, at night, things have been going on as bright as day.
World Fair in New Orleans (USA) 1884, where the energy budget already seems to be right for large lighting installations. Source: Wikimedia Commons (Source).
Already amazing illuminations were produced by the exhibition organizers in the second half of the 19th century: The California Midwinter International Exposition of 1894 already had it in for them and today one wonders how they could manage this so seemingly effortlessly. Wikimedia Commons (Source).
Again and again high towers (similar to the Eiffel Tower), domes and round formations on old pictures.
Electricity and light in abundance: 1897 - Century Exhibition in Tennessee (Wikimedia Commons; Source); The development is extraordinary. Left in the background the needle-shaped tower, which was brightly illuminated in the middle area (above it the needle-shaped long tip). One sees the tower also again in its completeness at daytime >> here << on this archive recording. Interestingly, one can see (somewhat blurred) that the cone of light of the metal tower was formed at the lower end of the long top.
1901: An old description cryptically says: "The Pan-American Exposition by Night in Buffalo offers the 1st alternation of day and night in a single, external shot. The changeover takes place in the middle of the panorama, which shows all the buildings from the Music Temple to the Electric Tower." The possibilities of such an illumination certainly existed at least 10-15 years before. But here it is both puzzling and exciting to see, as can be seen in this rare silent film document: In the so-called "Edison Catalogue" it says: "A great speciality of the Pan-American exhibition was, as all visitors unanimously admitted, the electric illumination of the exhibition area at night. After much experimentation and patience we succeeded in obtaining an excellent picture of the Pan-American buildings as they appear illuminated at night. All buildings from the Music Temple to the Electric Tower are shown, including the Electric Tower itself. The emotional and sensational effects were also ensured by starting the panoramic view in daylight and rotating the camera until the Electric Tower forms the center of the lens. Then the camera was stopped and the position held until the night when we photographed the rise of the lights, an event that was considered by all to be a great emotional highlight of the Pan American exhibition. Immediately the lights burned in all their brilliance, the camera was set in motion again and turned until the temple of music was reached. Then the movement is reversed and the camera moves back until it rests on the Electric Tower, providing the climax of the image. The tower's large spotlights are processed throughout the exposure time of the image, and the effect is amazing. This image is called a miracle of photography by the photographers." By the way, the Electric Tower was an impressive 160 meters high.
If you research carefully, you will find something: Like this very early recording from about 1874.
It states: "The building is located in the most aristocratic residential area of Kansas City, Mo., directly across Troost Park, with easy access to electric and cable cars to all parts of the city, and is equipped with all modern conveniences and the best medical equipment for the successful treatment of rare and nervous Yankee maladies.
(Source: The Journal of nervous and mental disease); Picture-source
Obviously you can actually see an electric cable car on the left side of the picture.
Here is also a picture of the cable car at the Eiserfelder Hütte from 1870, wasn't this also an electrically operated cable car? (Wikimedia; Source) How could it have gone differently? Elsewhere it is said that it was built later - in 1888. See for yourself.
Another unique specimen is the picture below (page 695 from the book "Railway age" from 1870). This book or booklet says: "Bridge arches under construction north of Soochow ... ... were built for the construction of rolling locks and for the repair of locomotives. These workshops are powered by electricity and illuminated. The cost estimate for the line, including land costs, is $38,400 per mile. The district is one of the most densely populated in China, especially between Shanghai and Su-chan, so it is expected that this part of the line will be double tracked early. The Yangtze Valley provinces are the main centres of tea, cotton and silk ..." I once read, on Wikipedia it says: "In 1879, Werner Siemens' company built a two-axle electric locomotive for the Berlin Trade Exhibition, which could pull three wagons of six people each on a 300-meter long circuit. It is considered the first practical electric locomotive." (Source) Even if here "only" the workshops were meant by electrification, the reference to electric lighting seems strange to me.