## Elementary Radiesthesia & the Use of the Pendulum by F.A. Archdale – 1956

### Chapter VIII – Serial Numbers, Colours, Music

As we have learnt something about the first principles of the use of the pendulum, we now come to the finer points of dowsing and radiesthesia. These finer points consist of finding the “serial numbers” and “fundamental rays” of the various substances and their affinity with certain colours and musical notes.

I had previously asked you to accept as a fact that every substance or object, animate or inanimate, gives of emanations or vibrations. I have also shown how their fields of influence can be measured. Now we must go a step further so as to enable the operator to know to what substance or object (iron, gold, water) the pendulum has reacted. It is of little use if a radiesthetist knows that there is something hidden in the ground if he does not know what it is, or at least has not a very shrewd idea.

SERIAL NUMBERS

Every substance has a serial number by which it can be recognised but there are more substances than one with the same serial number so we must have a second check; but of that later. To make things even more difficult serial numbers cannot be taken from a book but must be found out because they are individual to each operator. Iron, for example, may have a serial number of 4 to me but 5 to my next door neighbour, although we have the satisfaction of knowing that they are constant once they have been established. If you have proved that 4 is your serial number for iron it will always be 4. The differences are not great and there are not many people who are abnormal, so that generally speaking iron is 4 for almost everyone. Nevertheless it is advisable to find out your own serial numbers for everything. This can only be done by practice and experiment although it is not a very long process once one has got the hang of it, and this is how it is done.

We will assume that you wish to find the serial number (and incidentally the “fundamental ray”) for iron. A bunch of keys will again serve as a sample. Hold the pendulum over the sample and when the pendulum is gyrating, stop it. This can be done by either taking the pendulum in the left hand or by touching the right hand with the left, this in some way short circuits the pendulum and makes it stop. Repeat the operation again and again until you find that the pendulum will not commence to gyrate at all, it has in fact reached a saturation point. Count the number of times it did begin to gyrate and you have the serial number of iron. For me, in the case of iron, the pendulum gyrates four times, that is to say, on four separate consecutive occasions. The number of gyrations on each occasion has nothing whatever to do

FUNDAMENTAL RAYS

Fundamental rays are gvien off by all objects and their direction, as we have already seen, is expressed in relation to the meridian, in fact, a reading from the compass. Generally speaking the fundamental ray is determined at the same time as the serial number, but if it is not you have to go through the same procedure or you can use the method which I gave on page 27 of my book under the heading “Orientation without a compass”. In this case we used iron in the form of a bunch of keys which we held in our left hand in front of but away from the body. Holding the pendulum in the right hand, turn from right to left (if you are right handed and vice-versa if left handed). When the pendulum commences to rotate note the direction in which you are facing and you have the fundamental ray direction for iron. In my book I did not mention anything about being right or left handed because I did not think it sufficiently important, but a number of readers have written to me on the subject and I have come to the conclusion that the direction of the turn has considerable bearing on the result of the test.

I find that people who use Radiesthesia for the selection of soil, etc., pay particular attention to the fundamental rays of the substances they have under test. If both rays are nearly the same, excellent results may be expected, but if they are more than 90 apart the soil and plant are incompatible. The method suggested is to use a 360-degree protractor with the 0 division at North. Place the sample of earth and plant, one at a time, in the centre of the arc of the protractor. Hold the pendulum over the sample and when it changes to oscillation read the angle off the protractor. This method is probably more accurate than using a home-made compass card.

Should you happen to try to test a substance which is in any way radioactive, the pendulum will gyrate first one way and then the other.

BOTTLED RAYS

You may be somewhat surprised when I say that rays and emanations can be bottled and used instead of the actual sample from which they came, but it is nevertheless a fact. In order to bottle the rays from a piece of iron all one has to do is to hold the iron over the opening of the bottle and blow just as if you were blowing smoke from a cigarette into the bottle. True, only a very small amount goes into the bottle but there will be sufficient to show that it is there. Cork the bottle and you will find that the results will be for iron or copper or tin or whatever sample you decide to use, both in regard to serial numbers and fundamental rays. I suggest you try this for yourself because it certainly sounds fantastic at first.

COLOURS

Colours probably have a greater influence on our lives and wellbeing than we are inclined to believe. I know little or nothing about “colour therapy” so I will leave that to someone better equipped than I am to write about it but I am sure that there is a great deal in it. Henri Mager, one of the pioneers in this science, found that a simple mineral body, such as a piece of iron, when placed over different colours, stops vibratory manifestations but that the same mineral body placed over one colour, the right one, does not disturb the vibrations of that colour. He also found, by trial and error, the correct positions for certain colours and made what is now called the Mager Rosette (see diagram below) which I have superimposed for experiments. When dealing with colours it is essential that you use a black pendulum and it must be remembered that colours are also individual to operators so you may not necessarily agree with me, or anything else for that matter.

COLOURS AND COMPASS

Every colour has its own compass point or bearing. This is easily proved by trial and error. Place the compass car, correctly orientated, in the middle of your table. Now get a number of coloured objects such as books, boxes, or pieces of cloth and place them on the table. Hold the pendulum over the centre of the compass card and move each coloured object round until the pendulum swings towards it. When all the colours have been correctly placed I fancy you will find that they will agree with the Mager rosette, that is to say red will be South, green East, and so on. But, however, you may be the exception to the rule so I suggest that you make your own experiments and do not accept the rosette as correct, for you. One is led to believe that colours and objects are visible to the human eye only by reason of the light they reflect. It is interesting to note that the test I have just mentioned can be successfully carried out in the dark.

We have found that the fundamental ray for both iron and red is South so we must assume that iron and red are affinities in some way or another. In order to prove this we have only to place a piece of iron, or the bottle containing iron rays, in the red sector of the rosette. Apply the pendulum and you will get an immediate reaction, but when the piece of iron is placed on any other colour you will get no reaction. Now take a small piece of lead and try it on all the colours and you will find that the pendulum will give the strongest reaction when the lead is between grey and red which means that the colour for lead is a mixture of red and grey.

It is not a difficult matter to find the correct shade, or nearly corect shade, when the pendulum reacts over the dividing line between two colours. Move the sample first on one side of the line and then on the other; the change in the strength of the gyrations of the pendulum should indicate the approximate proportions of each colour by the distance from the dividing line, when the strongest reaction takes place. Some operators use different coloured pendulums and others small pieces of coloured ribbon. A correspondent of mine in New Zealand has a novel idea, he used small skeins of silk and if he requires a shade he makes up a skein of two or three different colours which would, if they could be mixed like paint, give the shade he requires. He claims that this method gives just as good results. He is a fruit farmer and has used radiesthesia extensively for the selection of types, soils, fertilisers, etc.

COLOURS AND MUSICAL NOTES

An interesting experiment to illustrate the existence of vibratory waves from colours is to take your pendulum and hold any colour you like with the pendulum, that is to say, in the same hand. Then get someone to strike the individual notes of the piano, sustaining each note for a while, commencing either with the bottom or top note of the piano and taking each note in turn. At one certain note the pendulum will begin to gyrate but if the next note is struck the pendulum will immediately stop. Thus we find that the note that caused the pendulum to turn is in sympathy with the colour held next to the pendulum thread. If you try this with other colours you will find that each one has a sympathetic note on the piano. Coloured pendulums can, of course, be used for this test.

It will be noticed that the colours in the Mager rosette are not the colours of the spectrum (rainbow) as they include black, white and grey. Although they are not colours in the accepted spectrum sense, nevertheless they have affinities for certain metals, black and silver for example. For comparison only I will give my serial numbers, etc., for some minerals.

So we see that there is harmony between colours, substances and music, although it may quite conceivably be that the harmony between colour and music and colour and substance is caused by two entirely different rays. I have no doubt that the scientific investigation that is going on at present will, before long, vestigation that is going on at present will, before long, throw some light on this subject.

“Enel” in his book on Therapeutic Radiesthesia dealt at some length with the question of the use of colours for diagnosis and treatment. He gave quite a new method of finding one’s personal colour which seems to depend on the length of the pendulum thread or string. These lengths vary between white, which is the greatest length, and black which is the shortest. From top downwards the colours are violet, indigo, blue, green, yellow, orange and red, in fact the colours of the spectrum with white at one end and black at the other, not in any way connected with the Mager Rosette. The author stated that the pendulum should be calibrated with the help of coloured ribbons and the colour of the individual found as follows. Hold the pendulum over the left hand and, palm upwards, then adjust the length of the thread until the pendulum gyrates clockwise, the mark on the string should then give the colour.