The word graal, as it is earliest spelled, comes from Old French graal or greal, cognate with Old Provençal grazal and Old Catalan gresal, meaning "a cup or bowl of earth, wood, or metal" (or other various types of vessels in different Occitan dialects). The most commonly accepted etymology derives it from Latin gradalis or gradale via an earlier form, cratalis, a derivative of crater or cratus, which was, in turn, borrowed from Greek krater (κρατήρ, a large wine-mixing vessel). Alternative suggestions include a derivative of cratis, a name for a type of woven basket that came to refer to a dish, or a derivative of Latin gradus meaning "'by degree', 'by stages', applied to a dish brought to the table in different stages or services during a meal". Galahad, Bors, and Percival achieve the Grail. Tapestry woven by Morris & Co.. Wool and silk on cotton warp, Birmingham Museum and Art Gallery.
The Grail was considered a bowl or dish when first described by Chrétien de Troyes. Hélinand of Froidmont described a grail as a "wide and deep saucer" (scutella lata et aliquantulum profunda); other authors had their own ideas. Robert de Boron portrayed it as the vessel of the Last Supper. The Welsh romance Peredur had no Grail per se, presenting the hero instead with a platter containing his kinsman's bloody, severed head. In Parzival, Wolfram von Eschenbach, citing the authority of a certain (probably fictional) Kyot the Provençal, claimed the Grail was a stone (called lapis exillis) that fell from Heaven, and had been the sanctuary of the neutral angels who took neither side during Lucifer's rebellion. The authors of the Vulgate Cycle used the Grail as a symbol of divine grace. Galahad, illegitimate son of Lancelot and Elaine, the world's greatest knight and the Grail Bearer at the castle of Corbenic, is destined to achieve the Grail, his spiritual purity making him a greater warrior than even his illustrious father.
Galahad and the interpretation of the Grail involving him were picked up in the 15th century by Sir Thomas Malory in Le Morte d'Arthur, and remain popular today. According to the Catholic Encyclopedia, after the cycle of Grail romances was well established, late medieval writers came up with a false etymology for sangréal, an alternative name for "Holy Grail". In Old French, san graal or san gréal means "Holy Grail" and sang réal means "royal blood"; later writers played on this pun. Since then, "Sang real" is sometimes employed to lend a medievalising air in referring to the Holy Grail. This connection with royal blood bore fruit in a modern bestseller linking many historical conspiracy theories. LATER LEGEND : Belief in the Grail and interest in its potential whereabouts has never ceased. Ownership has been attributed to various groups (including the Knights Templar, probably because they were at the peak of their influence around the time that Grail stories started circulating in the 12th and 13th centuries). There are cups claimed to be the Grail in several churches, for instance the O Cebreiro church in Galicia (Spain), or the Saint Mary of Valencia Cathedral, which contains an artifact, the Valencia Chalice, supposedly taken by Saint Peter to Rome in the 1st century, and then to Huesca in Spain by Saint Lawrence in the 3rd century. According to legend, the monastery of San Juan de la Peña, located at the south-west of Jaca, in the province of Huesca, Spain, protected the chalice of the Last Supper from the Islamic invaders of the Iberian Peninsula. Antonio Beltrán says the artifact is a 1st-century Middle Eastern stone vessel, possibly from Antioch, Syria (now Turkey); its history can be traced to the 11th century, and it now rests atop an ornate stem and base, made in the Medieval era of alabaster, gold, and gemstones. It was the official papal chalice for many popes, and has been used by many others, most recently by Pope Benedict XVI, on July 9, 2006. The emerald chalice at Genoa, which was obtained during the Crusades at Caesarea Maritima at great cost, has been less championed as the Holy Grail since an accident on the road, while it was being returned from Paris after the fall of Napoleon, revealed that the emerald was green glass.
In Wolfram von Eschenbach's telling, the Grail was kept safe at the castle of Munsalvaesche (mons salvationis), entrusted to Titurel, the first Grail King. Some, not least the Benedictine monks of Montserrat, have identified the castle with the real sanctuary of Montserrat in Catalonia, Spain. Other stories claim that the Grail is buried beneath Rosslyn Chapel or lies deep in the spring at Glastonbury Tor. Still other stories claim that a secret line of hereditary protectors keep the Grail, or that it was hidden by the Templars in Oak Island, Nova Scotia's famous "Money Pit", while local folklore in Accokeek, Maryland says that it was brought to the town by a closeted priest aboard Captain John Smith's ship. Turn-of-the-century accounts state that Irish partisans of the Clan Dhuir (O'Dwyer, Dwyer) transported the Grail to the United States during the 19th Century and the Grail was kept by their descendants in secrecy in a small abbey in the upper-Northwest (now believed to be Southern Minnesota). In March 2014, Margarita Torres and José Ortega del Río presented in Leon, Spain, a co-written book, Los Reyes del Grial (The Kings of the Grail), that described how a Spanish Arabist and historian, Doctor Gustavo Turienzo, found two medieval Egyptian documents in Cairo, written in Arabic, suggesting that the Holy Grail had been taken by Egyptian troops following the invasion of Jerusalem and the looting of the Holy Sepulcher. This challis was then given by the Emir of Egypt to the Emir of Denia, who in turn gave it to the Kings of Leon in order for them to spare his city from the upcoming Christian invasion (Reconquista). This took place in the 11th century. They claim the Chalice of Doña Urraca at the Basilica of San Isidoro was very early on believed to be the Holy Grail.
MODERN INTERPRETATIONS
The story of the Grail and of the quest to find it became increasingly popular in the 19th century, referred to in literature such as Alfred Tennyson's Arthurian cycle the Idylls of the King. A sexualised interpretation of the grail, now identified with female genitals, appeared in 1870 in Hargrave Jennings' book The Rosicrucians, Their Rites and Mysteries. The combination of hushed reverence, chromatic harmonies and sexualized imagery in Richard Wagner's late opera Parsifal, premiered in 1882, developed this theme, associating the grail – now periodically producing blood – directly with female fertility. The high seriousness of the subject was also epitomized in Dante Gabriel Rossetti's painting (illustrated), in which a woman modeled by Alexa Wilding holds the Grail with one hand, while adopting a gesture of blessing with the other. A major mural series depicting the Quest for the Holy Grail was done by the artist Edwin Austin Abbey during the first decade of the 20th century for the Boston Public Library. Other artists, including George Frederic Watts and William Dyce, also portrayed grail subjects.