ABSTRACT
One of the joys of Foucault’s Pendulum is that one can recognize the central premise that ‘the Templars are involved in absolutely everything’ and be able to appreciate the irony of the postmodern twist in which the conspirators become engulfed by their own creation. Even Umberto Eco himself has been inserted into the Templar myth, despite the fact that the novel satirizes just that popular, if somewhat simplistic, model in which notions of Templar secrets and world conspiracies have been advanced as serious, albeit speculative, revisions of history. 1
