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PART TWO EZEKIEL’S MERKABAH

IN CHARTRES CATHEDRAL

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PROLOGUE

his paper is an extreme detail analysis of Chartres Cathedral’s the symbolism embedded into the three Rose Windows. The whole purpose of this paper is to illustrate how Ezekiel’s Merkabah is symbolized by the Nor th and South Rose

Windows. This analysis will demonstrate the pivotal esoter ic teaching of the Roman Catholic Church. The history of Char tres will be discussed along with some of its sculpture.

This is the second paper in a three par t ser ies on the analysis of Ezekiel’s Merkabah. Part-One of the ser ies will be on Ezekiel’s Merkabah in the first chapter of Genesis and Part Three will be on Ezekiel’s Merkabah laid out symbolically in the Sistine Chapel. Par t-Two of the ser ies is published first; because, I was well into wr iting it and; because, I had already wr itten a paper on Ezekiel’s Merkabah in the first chapter of Genesis; however , that second version has to be revised to incorporate other interpretations of the texts of the first chapter of Genesis in order for the initiate to envisage the symbolism laid out in Char tres Cathedral and the Sistine Chapel.

INTRODUCTION

ecause of the perfection that the sacred scr iptures are laid out in on a symbolic level it is obvious that the message is that all of this spir itual knowledge already resides within the soul and somehow the soul summarily dismisses it; thus, suffer ing an

amnesia of consciousness. There is no evolutionary process to learning this knowledge seeing that all the information concerning the spir itual psychic process is wholly present in the first wr itten (Revealed) word of Genesis: BETH ּב and the first hidden letter : PEI פ, which mystically formulates the first word of Genesis: BERESHITH ּבראשית via the first two wr itten letters/words of Genesis: BETH ּב and RESH ר. The whole of the Judaeo Chr istian Scr iptures: Old and New Testaments are commentar ies on these first two letter /words.

The sacred scr ipture interprets itself and it does not need the hubr is: bias, prejudices and preconceived notions of ego-consciousness to elucidate its spir itual missive. The above example of the first two wr itten letters of Genesis: BETH ּב and RESH ר transforming into two letters/words formulating the first word of Genesis: BERESHITH ּבראשית is an ideal example of how to proper ly read the sacred scr iptures. This is obviously the pr imary key to how to decode bible. This is why or iginally there were no jots, tittles or verbs sur rounding the texts of the Torah. The jots, tittles and verbs were added on later to give the surface (Revealed) texts of the Torah an applicable storyline that will also aid in interpreting those Hebraic letters/words that nar rate its texts. Think of every word in the sacred scr iptures storyline as being formulated by a number of Hebraic letters/words group together to form a spir itual concept. The jots, tittles and verbs symbol the first letter /word of Genesis: BETH and the letters/words without jots, tittles and verbs are symbolized by the esoter ּב ic (Hidden) Hebraic letter PEI that inundates and sur פ rounds the letter BETH ּב.

The letter PEI symbolizes the House of ּב symbolizes the Mouth of God and BETH פ God (Elohym); thus, it can be envisaged that the Torah is the House of God formulated by the Mouth of God.

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A BRIEF HISTORY OF CHARTRES CATHEDRAL

har tres Cathedral has an marvelous background story that most of the Roman Catholic laity knows nothing about; for the reason that, the hierarchy of true Catholicism believes, and r ightly so, that each member of the laity owes his or her

whole heart, mind, soul, time, finances and resources to his or her search for the knowledge of God.

I happen to be born in a most advantageous and oppor tune time; though, I am not a r ich man and have not traveled the wor ld to visit the religious sites I wr ite about; rather , I have a library of books, cds and DVDs and the Internet to research the detail nuances of the bible and my religion: the Roman Catholic Church. The numerous personal discover ies I have made from out of the bible and from many of those books and religious sites would be classified as armchair contemplative meditational thought. I am proud not to be an academic scholar frozen in a closed status quo mindset. I am free to think as I please, outside the box, unhampered by the restr ictions of what is classified academically as “ discipline” , which I give the nomenclature “ frozen antiquated thought” no more different than Satan frozen in the glacier in the lowest realm of hell as narrated by Dante Alighier i in his La Divina Commedia. Do not get me wrong religious scholars and academia are necessary for the creation of societal mores and they are needed as curators (museum curators) of knowledge in lower and higher educational systems and no matter how new the knowledge is that is culled from the DARKNESS it is still academically restr ictive. I will say that the battle between academia and the independent religious pioneer researchers is essentially and mythologically the same as the battle between LIGHT and DARKNESS.

I love pointing out the fact that a 33˚ Mason is no longer a member of the Masonic Order ; though, that degree is considered the highest degree in that Mystery School. The first thir ty-two degrees: 32˚ symbolize that which is frozen and the 33˚ is the beginning of the thawing of that glacier of knowledge Masons, religious hierarchies and academic are frozen in. That itself is the mystery behind the 32-tablets of knowledge that Atlantis is said mythologically to have hidden in three archives in Antiquity’s Halls of Records.

Bishop Fulbert and his esoter ic school of thought began constructing the Romanesque Char tres Cathedral after the previous Carolingian church burnt down back in 1020AD. That date, I believe, is symbolic of the large ALEPH א, which represents the MATRIX OF WISDOM cubed (10³) with the Crown of Creation (Keter) added to it symbolized by the eleventh Hebrew letter KHAF (20) כ indicating the discovery of sacred geometry in the sacred scr iptures. Previous to the Carolingian Church was the Merovingian Church and before that the Roman Gallo church and the mythoi is that they all burnt down. These fires are impor tant to remember ; for the reason that, those and subsequent fires are essential to understanding this commentary on Chartres Cathedral.

The year 1020AD is a pivotal year in the mythological history of Chartres Cathedral; because, it symbolizes the book of Genesis. The first eleven chapters of Genesis symbolizes the antediluvian times: i.e. the times of the Matr iarchal Society. This per iod of time in the first eleven chapters of Genesis is designated as the Keter the Crown of Creation; because, it has 299-verses, which total to twenty (299 = 2+9+9 = 20) and the rest of the book of Genesis has 1234-verses that symbolizes a Tetractys or a large ALEPH א. These 1234 years I believe symbolize the last four letters in the Hebraic Coder that enter into creation: Tav (400), Shin (300), Resh (200) and Qoph (100), which is the spelling of the word CHRIST in Greek using Hebrew letters.

The first eleven chapters of Genesis symbolizes the Vesica Piscis; because, the first thir ty-five uses of the word ELOHYM (God) is broken up into two parts 32-Elohyms in the first chapter of Genesis and 3-Elohyms in the first three verses of the second chapter of Genesis and then there are another 100-times the words YAHWEH and ELOHYM are used

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50-times each that expanse out from the second chapter of Genesis to the eleventh chapter . This pattern of 32 (5), 3 and 100 (1) is the transposition of the Vesica Piscis 153. The fact that the words Yahweh and Elohym are split into being used 50-times each point to the MATRIX OF WISDOM being in play; because, that is precisely how the MATRIX OF WISDOM is set up to symbolize the psyche: ego-consciousness and the unconscious mind: Saint Peter ’s Basilica is build upon that sacred geometry.

I f the reader can envisage via meditational contemplative thought the synchronicity between the histor ical mythos of Char tres Cathedral built in the French Capetian dynasty per iod1 with the mythos of the books of Genesis it may benefit those readers to also research the Gallo Roman Church c. 500AD2 then continue to research and meditate contemplatively on the Merovingian Church3 and then the Carolingian Church4.

Let me state clear ly that I do not believe histor ically all these churches actually existed on Char tres Cathedral property no matter what evidence was constructed to symbolize these ancient works. The mythoi of these three churches are par t of the back-story to Char tres Cathedral; however , the ruins indicating these three churches actually did exist is more to confuse the infidels and the profane; because, they psychically need histor ical evidence to justify the existence of the present; thus, it is symbolically provided. The infidel and/or the profane have not the intellect or the attention span to comprehend the spir itual. Mythology is not a lie it is spir itual truth that probably will conflict with the truth that is known as the slanted versions of the outer wor ld’s reality.

I believe that the whole of Chartres Cathedral was conceived and built at the same time; though, it may have taken centur ies to build. The Romanesque building most likely did not exist; though, there is a Romanesque foundation, which the West Façade was built and then the Gothic cathedral rose upon the Romanesque foundation. I hypothesized the mythologizing of the history of Char tres Cathedral centers mainly upon the dates provide. Nothing can be that coincidental that it mir ror-images the symbolism of the bible so perfectly unless it was deliberately set up that way.

Each of the churches: Roman Gallo, Merovingian and the Carolingian mythologically burned down pr ior to Bishop Fulber t star ting building the alleged Romanesque Church in 1020AD and a br ief history of their mythoi can be found on the internet5.

What transpired before the Genesis Creation Account can only be hypothesized via the zodiacal cycle, which is a main part of the esoter ic texts of the first four chapters of Genesis; whereas, more nuances can come out of due diligence on the reader ’s par t. The mythoi of Char tres Cathedral pr ior to the fire of 1020AD may supply more nuances as to those pr ior spir itual psychic events of Gen. 1:1.

Here is an alleged image of Bishop Fulber t’s Romanesque Char tres Cathedral. I t is very interesting to see the Sun (Boaz) and the Moon (Jachin) towers at opposite ends of the cathedral. There are no transepts on the nor th and south sides of the cathedral, which points to mere secular religious mores and not the Initiatic Visionary exper ience. The

1 https://en.wikipedia.org/wiki/Capetian_dynasty 2 https://en.wikipedia.org/wiki/Gallo-Roman_culture 3 http://merovingiandynasty.org/details.php?id=merovingian_origins 4 http://www.meievaltimes.info/medieval-europe-9th-to-13th-c/carolingian-empire/ 5 http://frenchmoments.eu/chartres-cathedral/

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nuances of where the Sun and Moon towers are, points to the laity enter ing the cathedral from LIGHT (Sun) side of the cathedral and going towards the DARKNESS (Moon). This is very thick stone that the Fulber t cathedral was allegedly built on, which let in very little sunlight from the numerous windows. Bishop Fulbert’s cathedral is rectangular like Solomon’s Temple and later would be transformed into a more spir itual cathedral. The tower towards the apse is the Moon tower and it dominates the cathedral thoughts indicating that it symbolizes the unconscious mind. Much of this about Bishop Fulber t’s Char tres Cathedral makes little sense unless this data is contrasted with the Sun and Moon towers built into the Royal Por tal/West Façade in 1134 when the West Facade of the cathedral burnt down. The new West Facade symbolizes the Initiatic Visionary Exper ience.

I t is my contention that the two towers are set up in this manner in Bishop Fulbert’s Romanesque Cathedral; for the reason that, they symbolizes ego-consciousness having a religious ‘Active Imagination’ intercourse with the unconscious mind. Those that have read the works of Car l G. Jung will be well aware of what Active Imagination is about. Most people do not know that the unconscious mind exists. As silly as that sound it is true. This Active Imagination process is probably what I have named LIMBO, which will be discussed below. Notice that the nor th tower : Jachin can also be designated as the east tower and the south tower: Boaz can be designated as the west tower .

The south tower is designated as Boaz – Sun because it is the largest tower . That same concept about the sizes of Bishop Fulbert’s towers is structured into the modern towers. This is pointed out to emphasize the fact that the present day Chartres Cathedral has the Boaz tower on the north side of the cathedral and the Jachin tower on the south side, which is totally opposite to how Bishop Fulbert set up those two towers.

This is one of the great myster ies of Char tres Cathedral that nobody has either recognized or discussed in the past eight centur ies; for the reason that, nobody seems to have known that that mystical mystery in Char tres Cathedral existed. This was pointed out now to prepare the reader to the realization that the whole of Char tres Cathedral is going to go topsy-turvy into total absolute disarray and that chaos has never-ever dissipated from the teachings of the Roman Catholic Church. This total disar ray relating to the teachings of the Roman Catholic Church is literally diametr ically opposite to societal mores. This is why it is difficult for the outer -wor ld to understand the existence of the spir itual forces in creation: Unknown God. The laity walking towards the present day Char tres Cathedral’s Royal Por tal/West Façade has no idea that he or she is witnessing, from a wor ldly perspective, intellectual pandemonium laid out beautifully in the Roman Catholic Church’s symbolism. This paper is all about discussing that chaos that nobody is aware of.

The five churches: Roman Gallo, Merovingian, Carolingian, Bishop Fulber t’s Romanesque Cathedral and the present Gothic Cathedral symbolizes the five coffins the Popes (spir itual initiates) are bur ied in. I ’ ll get into this concept of the coffin later on in this paper .

In 1134AD there was another fire in Chartres Cathedral, which burnt down only the West Façade portion of the cathedral and the rest of the Romanesque Cathedral, remained intact. The West Façade was rebuilt to symbolize the Initiatic Visionary Exper ience, which each member of the laity should receive directly from God if he or she is wor thy to receive it.

I t is my theory that all of the mythological fires from 500AD to 1134AD: from the pagan Roman Church to the pr imitive Merovingian and Carolingian Churches and the West Façade burnt down was so the mythoi of the cathedral would center on and give background mythoi to the rebuilding of the new West Façade and this kind of symbolism is not unprecedented.

Michelangelo painted the fresco of the LAST JUDGMENT on the West Wall (Altar Wall) of the Sistine Chapel; for the reason that, it was planned before the cornerstone of the

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building was put into place just as all those fires in Char tres Cathedral were planned mythologically to rebuild the new West Façade and a later fire was planned mythologically to transpire in 1194AD to tear down the alleged Romanesque Cathedral to build the Gothic Cathedral. I t matters not how long the symbolic plan of the Catholic Church takes to complete as long as the alleged history sound reasonable and sensible for a back-story as long as the mythoi of the project authenticate it spir itual truths on both a histor ical and mythological perspective. No religion tells untruths by giving false mythological histor ies. The goal of any religion is to use the mythoi of history as swaddling clothes to cloth the WORD OF GOD. The history of humanity is neither the Roman Catholic Church’s for te nor is it their raison d’être; though, outwardly it may appear to be that way.

In 1194AD there is yet another fire and this time the whole of Chartres Cathedral burnt down except the ROYAL PORTAL/WEST FAÇADE. What were the ‘gambling odds’ that the West Façade would remain intact while the rest of the Church was destroyed when the opposite happened sixty (60) years before?

The sixty (60) year per iod between the last two fires br ings to mind the interpretation of the first word of Genesis: BERESHITH “ separated six” . The distance in time from 1020AD to 1134 is 114-years is also reduced to six (6). This separation of six (6) is solely based upon the esoter icism of the Zodiac/Calendar year as recorded in the first four chapters of Genesis. The first chapter of Genesis symbolizes the first six days of creation: i.e. they symbolize the first six months of the Calendar year (exoter icism): i.e. the alleged histor ical data; whereas, the next six signs of the Zodiac (esoter ically) are completely hidden from view.

In addition the years 1020AD (3), 1134AD (9) and 1194AD (6) reduce down the Mutable Quadruplicities Signs of Astrology: number 3, 6 and 9; whereas there are 174-years between 1020AD and 1194AD. The numbers 1, 7 and 4 symbolize the Cardinal Quadruplicities Signs of Astrology. The last known fire in Char tres Cathedral is allegedly an unexplained fire in the roof section of the cathedral in 1836AD, which was replaced with a metal roof. The number 1, 3, 6 and 8 are the four months with thir ty-days in the Zodiac/Calendar year and they collectively initiate the STAR OF DAVID (tetrahedral forces in the psyche). This is similar to what Michelangelo did on the ceiling of the Sistine Chapel by frescoing the Zodiac/Calendar year . The Star of David is there; but, it is esoter ically invisible. The numbers 1, 3, 6, and 8 transforms into the numerical value of “ LORD JESUS CHRIST” and 31.68 Nor th Latitude is r ight where Bethlehem of Judea is located. In addition the years between 1020AD and 1836AD are 816, which is a number that is the transposition of the Golden Ratio 0.618. Is anybody truly supposed to believe that any of these fires in these par ticular years are all just coincidental?

There is absolutely no doubt in my mind that the West Façade of Chartres Cathedral symbolizes the Initiatic Visionary Experience that God blesses the wor thy initiate with. Here at Chartres Cathedral the Catholic Church has codified that Initiatic Visionary Experience outlined in the first word of Genesis: BERESHITH into the West Façade of Chartres Cathedral.

The mythoi of the fire in Char tres Cathedral in 1194 has a pr iest running out of the burning cathedral holding in his hands the veil of the Virgin Mary declar ing it was not destroyed. He failed to tell the laity that the true veil of the Virgin Mary is Chartres Cathedral’s Royal Por tal/West Façade.

The first thing to understand about the Royal Por tal/West Façade is to realize that old heaven and earth (old West Facade) had burnt down in 1134AD and a new heaven and ear th (new West Facade) was being built. I see the numerics of the year 1134AD as symbolic of the Initiatic Visionary Experience that took place when the word BERESHITH was being formatted. The number 1134 is a transposition of the last three letters of the Hebrew alphabet that entered into manifested creation first: TAV (4 - 400) ת, SHIN (3 - 300) ש and

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RESH (1 ,1 = 2 :200) ר. This is saying that the Vesica Piscis had been proper ly installed into the psyche (internal temple) of the initiate at Char tres Cathedral.

The first thing to know about the Royal Por tal/West Façade is that it is completely different than the old Romanesque Char tres Cathedral. The Royal Por tal/West Façade was built as a harmonious mixture of the Romanesque (mater ialistic) and Gothic (spir itual) architectural styles, which is symbolic of the God/Man Chr ist coming and gifting the initiate with the Initiatic Visionary Experience; thus, r ight from the star t of rebuilding the Royal Portal/West Façade the Initiatic Visionary Experience was going to be laid out as esoter ically nar rated in the first word of Genesis: BERESHITH.

I t is falsely assumed that the teachings of Roman Catholic Church are gener ic and permanently concretized (canonized): in every sense they are; however , God speaks to the initiate via his or her character and personality, which is unique to all the initiates in the mater ial wor ld. What the outer wor ld calls identifying fingerpr ints God would call the character and personality of the soul, which are the identifying traits of the psyche; thus, every initiate that has the Initiatic Visionary Experience will treat the WORD OF GOD according to his or her unique character and personality traits making his or her interpretation of the WORD OF GOD only one of a kind amongst all the commentar ies on the WORD OF GOD published or unpublished wor ldwide.

When the reader studies the Royal Por tal/West Facade and realizes that those that enter Chartres Cathedral that in itself is symbolic of going from the mater ial wor ld into spir itual aeons of the Tr initar ian Paradigm: Tr inity. Everything has been perfectly and ar tistically setup from a symbolic point of view to teach the WORD OF GOD. The first thing the reader should notice as he or she walks towards the Royal Por tal/West Façade is that the two towers flanking the central tr iptych symbolically representing the Jachin (Sun) and Boaz (Moon) the two columns standing outside the Jewish Temple. These symbols Boaz (Sun – ego-consciousness) and Jachin (Moon – unconscious mind) are not allowed in the temple unless they are mystically alchemically marr ied. These two towers are at the height of their namesake 365-feet for the Sun (Boaz) and 354-feet for the Moon (Jachin) represent the mater ial (clockwise) and spir itual (counterclockwise) respectively. These are the two opposite towers of Bishop Fulber t’s cathedral brought into synch: i.e. mirror-imaging each other so that they can be mystically marr ied to create Chr ist consciousness. These are two pillars set up outside of the Jewish and Masonic Temples. These pillars symbolize the Ear th (Boaz) and Heaven (Jachin); whereas, on the Royal Por tal of Char tres Cathedral opposites are harmoniously combined via Chr ist consciousness via the Vesica Piscis over the central door of the tr iptych. Realistically, Boaz and Jachin outside the temple nuances that they symbolize the Tree of the Knowledge of Good and Evil; for the reason that, they are not mystically alchemically marr ied via Chr ist consciousness.

There are many spir itual mythological themes laid out sculpturally on the central section of the Royal Por tal/West Façade. The first par t is of course the tr iptych, with the central door larger than the other two flanking doors put together . This is symbolic of the Vesica Piscis. Above the central door is Chr ist sitting on his throne (Kamea of Saturn) in the center of a Vesica Piscis. The entire central section from the door at ground level to Chr ist standing at the top of the cathedral symbolizes the Seven L ight Chakras. A Hindu Pr iest visited Chartres Cathedral and notice and confirmed this pattern being equivalent mathematically and symbolically to the Seven L ight Chakras, which the Kundalini r ises on. There are of course many other biblical featured sculptured into the Royal Portal/West Façade, which I will not discuss here in this present thesis.

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I placed this image here to show basically what the laity is confronted by when they enter into Chartres Cathedral. I will discuss this image later on in this paper ; but, r ight now the reader should know that though these three images look like they are structured reasonably and logically they are not; because, they are literally chaotic and there is a very spir itual reason that they are; however , most of the laity will not know that the outer and inner ar tworks of the Royal Portal/West Façade are chaotic.

Remember the Royal Portal/West Facade was all allegedly conceived and built back in 1134AD; however , through the fires of faith are the teachings of the Roman Catholic Church laid out on the Royal Por tal/West Façade on Char tres Cathedral they are the reason the total Gothic aspect of the cathedral was built. The Gothic (symbolizing spir ituality) part of Char tres Cathedral was built upon the Romanesque foundation to explain how and why the Royal Portal/West Façade was created and what it all means on a symbolic and an esoter ic level

To understand these fires at Char tres Cathedral the reader should read Dante Alighier i’s (1265-1321) La Divina Commedia (The Divine Comedy): Purgatory (vol. 2 – chapters 27 - 29). I ser iously recommend that the reader choose a translation that has the or iginal Terza Rima: three verse rhyme and not the prose versions. The twenty-seventh (27th) canto/chapter of the Divine Comedy speaks of this fire of faith (my interpretation); for the reason that, the beginning of the book of Purgatory Dante has the Gates of Saint Peter ’s, which I believe he was symbolically referr ing the whole of Purgatory as the Roman Catholic Church’s teachings. The Roman Catholic Church is symbolic of the Garden of Eden and when getting through the wall of flames Dante and Virgil entered the Garden of Eden. The burning down of the Romanesque Char tres Cathedral and rebuilding it solely of the Gothic Cathedral architectural style is symbolic of the burning flames that burnt down the thick granite rock the Romanesque Char tres Cathedral was build upon. Don’ t get me wrong mythologically the entire Romanesque building may have burnt down but the entire Char tres Gothic Cathedral still rest upon the Romanesque foundation and that is a ser ious nuance; for the reason that, the teachings of the Roman Catholic Church are based upon the Judaeo Chr istian Scr iptures, which is the foundation (archetypal teachings) of the Chr istian religion. The Romanesque foundation is symbolic of that basic scr iptural foundation; because, the sacred scr ipture symbolizes the granite rock.

Going west out of Chartres Cathedral via the Royal Por tal/West Façade another extremely important missive is sent to the soul. The Rose Window on the Royal Por tal/West

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Façade is all about the LAST JUDGMENT. This is very interesting from the perspective of the Sistine Chapel. The true entrance door of the Sistine Chapel is on the east side of that long rectangular building. When enter ing the Sistine Chapel the Altar Wall/West Wall has the Last Judgment on it. There is no doubt that the Popes in Michelangelo’s time were inspired by the symbolism of Char tres Cathedral.

The labyr inth on the floor of the Romanesque’s foundation of Char tres Cathedral is the same sized dimensionally as that of the Rose Window on the Royal Por tal/West Façade. This is another very interesting nuance coming out of the Roman Catholic Church for it tell us to follow its teaching unerr ingly. Another nuance is the fact that Char tres Cathedral is built upon the old Romanesque foundation, which infers that if the initiate is not iconographic then at any moment the whole Church could vanished and egocentr ism (iconoclasm) will reign once again.

The labyr inth of Char tres Cathedral is literally a single path to the center; yet, it path goes every which way but loose; but, as long as the individual member of the laity follows the provided path: teachings of the Roman Catholic Church he or she will get to the center. Actually, there is no real-time destination the whole quest is the journey not the destination.

The count of stones that make up the labyr inth is the amount of days that it takes a child to gestate in the womb; thus, the labyr inth is saying that if the individual laity follows the WORD OF GOD he or she will be BORN AGAIN. The initiate’s task is to set out on the journey to understand the WORD OF GOD his or her task is not to complete the task no matter how incessantly vigilant he or she is throughout life to obtain that knowledge.

I t is very interesting to know that the labyr inth in Char tres Cathedral is associated with the Rose Window on the Royal Portal/West Façade; for the reason that, the Last Judgment has nothing to do with end of days unless the initiate associates the Last Judgment with the end of mater ialistic idiocy. The Last Judgment is all about how the initiate believes in God. Following the single path of the labyr inth journeying to the center without fail symbolizes the proper way of believing and worshipping God.

In the Sistine Chapel the Last Judgment was build after destroying the Altar Wall/West Wall, which obliterated two lunettes, four popes, two windows and two frescoes. The Last Judgment on the Sistine Chapel’s Altar Wall/West Wall hints at its purpose. All those symbols were destroyed that are also situated on the other three walls; thus, the Last Judgment is a commentary on the other three walls after destroying one of the four walls.

FIRST TIER: Do you believe in the ancestral kings of Chr ist? The other lunettes display Chr ist’s ancestry.

SECOND TIER: Do you believe in the word of the High Pr iests that the other pope frescoes symbolizes?

o Do you believe in the Communion of Saints? This is what the ministry and the lives of Moses and Chr ist’s frescoes are all about.

o Do you believe in nature? This light comes into the chapel through the windows. THIRD TIER: These people are living in the wor ld ascending or descending. FOURTH TIER: Do you believe in ghosts, spir its and demons? These are those people

r ising from their graves and the demons in the fresco usher ing the sinners into hell. o This is the laity coming into the Sistine Chapel that is at the bottom of the Last

Judgment fresco, which is align to the crowds of people that flood the Roman Catholic Church.

The Last Judgment placed upon the Altar Wall/West Wall of the Sistine Chapel symbolizes the entrance into the mater ial wor ld; thus, the Last Judgment has nothing to do with the end times per se; rather it has to do with how the initiate deals with the wor ld in regards to his or her knowledge of God. This same conceptual idea of the Last judgment is worked into the Rose Window on the West Façade.

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The MAZE has nothing whatsoever to do with the LABYRINTH; though, these two words and concepts that are diametr ically opposite to each other are, for the most par t, spoken about as if they were interchangeably. Walking the Labyr inth of Char tres Cathedral is walking with God in the Garden of Eden via Chr ist consciousness; whereas, traversing a Maze is all about ego-consciousness’ hubr is. Char tres Cathedral Labyr inth appears to symbolize the tetrahedral forces of the psyche, which would symbolize the Merkabah; however , there is a great deal more evidence of the Merkabah in the cathedral’s symbolism yet to be discussed. Walking the Labyr inth (MATRIX OF WISDOM) is, in every sense, psychically creating the Eternal Temple of God: obeying the seemingly chaotic WORD OF GOD no matter how r idiculous it may seem.

When walking a Maze an individual could very well lose his or her mind and end up in an insane asylum; because, it has many false, separate and diverse paths to navigate to reach the already preconceived end-goal, which are forever , traversed without any idea of how to get out of the Maze.

This is why the Greek poet Ovid had King Minos of Crete built a maze (societal mores) for his son the Minotaur and placed him there. Of course the stubborn bull symbolizes ego-consciousness. The Minotaur Bull (BETH ּב) symbolizes the archetypal beastly nature (ego-consciousness: or iginal sin: i.e. hubr is) that the individual is born with and this is why the Minotaur Bull had to be destroyed at the end by the spir itual powers of creation: i.e. God.

The Bull symbolizes living in the time/space continuum, which is governed by Saturn/Cronus (ego-consciousness), which is eventually overpowered and harmonized into the Garden of Eden by Zeus/Jupiter (Chr ist consciousness).

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CHARTRES CATHEDRAL: Romanesque and Gothic Were Inspired and Conceptualized via the MATRIX OF WISDOM

hen studying Bishop Fulbert’s Chartres’ Romanesque Cathedral it is easily envisage that the architectural plan is directly inspired and conceptualized from the MATRIX OF WISDOM via the Two-Par t Psyche and Char tres’ Gothic

Cathedral was inspired and conceptualized directly from the Eternal Temple of God.

In Bishop Fulber t’s Romanesque Cathedral the two towers were positioned on opposite ends, flanking the long rectangular building, symbolizing the Sun: ego-consciousness (south) and the Moon: unconscious mind (nor th), which esoter ically infers that the Two-Part Psyche is not on the same page: meaning they are not mir ror imaging each other . Their numerics (symbolically the philosophies and concepts on life) are in total opposition to each other ; for the reason that, in real-life in the outer wor ld the unconscious mind advises ego-consciousness incessantly in the dream state; however , ego-consciousness for the most part summar ily dismisses that advice in the conscious state.

Most people will live out their entire lives never-ever knowing or learning about the MATRIX OF WISDOM; though, the image of the matr ix is all around them. All religious cultures and mystical societies around the wor ld use this MATRIX OF WISDOM to build their religious sacred spaces.

Once the MATRIX OF WISDOM is known about and understood it does not take a rocket scientist6 to realize that Bishop Fulbert built Char tres Romanesque Cathedral based upon the schematics of the matr ix. I t is nigh unto an impossibility for the average member of the laity to envisage on his or her own volition either the MATRIX OF WISDOM’s Two-Part Psyche or the Eternal Temple of God.

History, for the most part, is a spir itual mythological strategy in order to lay out the entire mythoi of a spir itual concept. Whether events in mythology actually took place in real-time is superfluous when consider ing the true purpose of the mythoi. Mythology is not a falsehood; for the reason that, from a spir itual perspective it is the ultimate truth. Whether the Gallo Roman, Merovingian or Carolinian Chartres churches ever existed does not matter for their mythoi were added to put a total of five fires into play symbolizing HEH ה (fifth letter of the Hebraic Coder): the breath of divine inspiration of life. The pr iest

6 I, personally, believe every human being on the face of the earth without ‘brain disease or psychic disorder’ has the same intelligence. Each person on the face of the earth is guided by what his psyche is enamored by.

W

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running out of Chartres Romanesque Cathedral (1194) while it was burning with a cloth in his hand declar ing that the Veil of the Virgin Mary was still intact was a mythological play on the fact that the West Façade: the true Veil of the Virgin Mary did not burn down, which would have been obvious to all those that was witnessing the fire..

The reader should study the above images The Romanesque and Gothic Char tres Cathedrals in relationship to the MATRIX OF WISDOM that inspired their creations.

The MATRIX OF WISDOM: Two-Part Psyche symbolizes the average human being living in HELL ON EARTH. In this state of consciousness there would be no distinction between ego-consciousness and the unconscious mind: for the reason that, the average person would not know that the unconscious mind even existed.

Bishop Fulbert’s Char tres Romanesque Cathedral was inspired by the MATRIX OF WISDOM transubstantiating into the Eternal Temple of God. The whole purpose of Bishop Fulber t building the Romanesque Cathedral mythological was to illustrate how this transubstantiating process takes place in the psyche.

o Split the MATRIX OF WISDOM in half and notice the numer ics on each half are in reverse of its counterpart: 1, 2, 3, 4, 5, 6, 7, 8. Just turn all the numer ics colored sky blue, inferr ing the fifth to the eight multiplication tables, upside down until they mirror-image the first to the fourth multiplication tables color in red.

o The Two-Par t Psyche: Ego-consciousness symbolizes the Sun (Boaz) and the Unconscious mind symbolizes the Moon (Jachin). Here it can be conceptualized why Boaz and Jachin, the two columns outside the temple, are not allowed into the Eternal Temple of God until they are mystically alchemically marr ied.

o I t is quite obvious that ego-consciousness is on the Westside of the MATRIX OF WISDOM and the unconscious mind is on the Eastside of the matr ix; nonetheless, I br ing attention to it; because, of what is to be discussed.

LIMBO symbolizes the Two-Par t Psyche in the state of Active Imagination when the initiate first enters Bishop Fulbert’s Romanesque Cathedral. Even enter ing the modern day Char tres Gothic Cathedral it is basically-psychically enter ing the Romanesque Cathedral; for the reason that, the modern laity knows nothing about the teachings of the Roman Catholic Church; though, they would argue endlessly against that statement.

o Eventually the initiate if he or she is sincere in his or her quest for the knowledge of God will lose his or her biases, prejudices and preconceive notions and leave them behind in the mater ial wor ld; thus, Boaz and Jachin will psychically mir ror -image each other 1, 2, 3, 4, 4, 3, 2, 1. Those that study the ceiling of the Sistine Chapel will see a great deal of this concept of mir ror -imaging in the 48-Cherubs and the 24-Bronze Figures symbolizing the Shemhamphorasch7: 72-Names of God.

o Though I will not discuss it fur ther, the Shemhamphorasch is found in the scr iptural texts Exodus 14:19-21, the Shemhamphorasch mir ror images The Origin of the Hebraic Alphabet8 and the self-same manner that the first two verses of Genesis were structured (7-words in the first verse and 14-words in the second verse).

o I see this mirror-imaging process: LIMBO as symbolizing the Good Man or Woman that matures to the status quo obeying societal mores: secular and religious; however , he or she if sincere in his or her quest to obtain knowledge of God will mir ror-image his or her Two-Part Psyche. Then God decides if the

7 https://en.wikipedia.org/wiki/Shem_HaMephorash 8 https://www.slideshare.net/williamjohnmeegan/the-or igin-of-the-hebraic-alphabet

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initiate is wor thy to receive the Initiatic Visionary Exper ience, which will guide him or her to Chr ist consciousness: Eternal Temple of God.

� LIMBO is when the initiate is not baptized into the teachings of the Roman Catholic Church, which I interpret to mean that the initiate knows nothing about esoter icism or the skill of reading symbolism in the sacred scr iptures or in religious ar tworks proper ly.

� LIMBO symbolizes the Good Man or Woman (Jew9) that knows the content of the Old Testament (Judaism) ser iously; but, from a slanted perspective to the spir itual reality of the Holy of Holies: Eternal Temple of God: symbolically the Roman Catholic Church10.

Char tres Gothic Cathedral: i.e. Eternal Temple of God is structured in the format of the MATRIX OF WISDOM entirely different than its counterpar t: Two-Part Psyche; though, the MATRIX OF WISDOM: Two-Par t Psyche is the foundation from which Char tres Gothic Cathedral: Eternal Temple of God r ises or falls: i.e. maze (ego-consciousness - mater ial) or labyr inth (unconscious mind - spir itual).

o Basically, the Eternal Temple of God is a conceptualization of the spir itual Initiatic Visionary Exper ience. This is why I interpret the Roman Catholic Church as a gener ic prototype der ived from the esoter icism of the Old Testament.

� As it can be seen the Eternal Temple of God per se does not exist outside of the individual initiates psyche. Every single initiate creates his or her own sacred space: Eternal Temple of God.

� RELIGIONS per se, all around the wor ld, are merely gener ic prototypes of the Eternal Temple of God.

� A perfect example of this is modern Catholicism. The physical Roman Catholic Church hierarchy wanted its laity to r ise above the fray of Judaism;

• However , modernity’s laity in the Roman Catholic Church is no more aware of the esoter icism of the Old Testament then most of Judaism’s laity.

• The Roman Catholic Church’s laity does not even know of the existence of Eternal Temple of God’s conceptualization.

o Char tres Cathedral in its LIMBO state is not eventually east going west and/or west going east; though, that is common sense: reason and logic coming out of that image of the LIMBO matr ix; though, that would be a slanted perspective to the reality of spir ituality; because, that would be ego-consciousness and the unconscious mind br inging everything in life back into confusion.

� This LIMBO state of consciousness is equivalent to the psyche coming up against a br ick wall; because, the human intellect can only go so far on an intellectual level on its own volition.

� When the reader thinks about it, inventions and new technology is not an evolution of consciousness or a growth of the intellect; because, humanity’s psychic problems are eternally the same; though, humanity

9 From a symbolic perspective I interpret Judaism and its laity (Jews) as symbolizing decent respectful people around the wor ld in all cultures: secular and religious that are unaware of esoter icism. They do not know how to read symbolism. Jews that have transformed to Kabbalism or conver ted to Catholicism is not in the latter category of iconoclastic readers (non symbolic readers). These conver ts should not be seen as Jews; though, they continue to obey societal mores: secular and religious. 10 Do not get me wrong here. I am not speaking of modernity’s laity in the Roman Catholic Church; rather , I am speaking from the perspective of antiquity’s understanding of esoter icism, which was eventually named Catholicism (universal): Roman Catholic Church; because, the Roman Catholic Church is a composite of all the religions around the wor ld; though, modernity Catholicism would dispute that endlessly.

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psychic problems get worst they never-ever get better throughout the duration of life unless there is a spir itual inter ference on an individual level.

o Char tres Gothic Cathedral is rather created psychically by spir ituality symbolically coming from the nor th going south: i.e. the r ight hemisphere of the brain transubstantiating into the left hemisphere of the brain. This is pure spir ituality undefined demolishing the psyche of the initiate removing (over a per iod of time) practically all of the initiates addictions and/or obsessions. This spir ituality only retains a small portion of the initiate psyche that has nothing whatsoever to do with those past addictions and/or obsessions allowing the initiate to continue life in its quest to obtain Chr ist consciousness. This spir itual intrusion upon the initiate’s psyche would be designated as the Initiatic Visionary Exper ience.

� The removal of the addictions and/or obsessions will probably take place instantaneously; however , the biases, prejudices and preconceived notions will fade into the ether according to the sincer ity of the initiate’s quest to know the WORD OF GOD.

The transept going north to south in Chartres Gothic Cathedral validates pure undefined spir ituality coming from nor th to south. However , the apse and the nave: east-west-cor r idor-of-time transubstantiates that pure spir ituality into the initiate’s religious mores. What that pure spir ituality: i.e. Holy Spir it, does is continuously clears the psyche of false ideas about its religion and then TRUTH reveals itself.

Char tres Romanesque and Gothic cathedrals were developed from the schematics of the MATRIX OF WISDOM and the matr ix’s Eternal Temple of God. This duel matr ix: i.e. BETH ּב and PEI one seen and one unseen, is a commentary on the MONAD, which is the ,פ soul: Chr ist: Two-Part Psyche. The brain’s cerebral lobes are also symbolically structured organically in the selfsame manner as both the Romanesque and Gothic cathedrals. The Pineal Gland is the seat of the Merkabah, which the r ight and left Merkabah wheels gyrate in order to unremittingly and mystically inform the spir itual forces of creation: Unknown God that emanates out of the Pineal Gland, precisely how the initiate wants to continue to live out his or her life. That idea alone should inform the initiate that there is not one MATRIX OF WISDOM, one mater ial universe, one bible or one Char tres Cathedral; rather , they and all of creation is gyrated anew incessantly nanosecond by nanosecond via the psyche’s Merkabah.

I t is somewhat difficult to put all this knowledge about the WORD OF GOD together in a comprehensible format and/or mode of thought; however, religious institutions were created for just that purpose. Those that truly want to know what God and life is all about would devote much time to learning what his religion has produced to elucidate to the laity that is interested in it; however , institutional religions can only provide that knowledge to the laity in the selfsame manner as they received it from the Unknown God.

A very br ief descr iption of the process of the Merkabah can be explained in this manner: the pure undefined spir itual forces of creation: Unknown God radiates through the soul: Chr ist, at all times. There are no intermittent per iods by which that would not happen. The soul: Chr ist is the Tr inity. The pure spir itual forces of creation: Unknown God incessantly radiating into the Two-Part Psyche: ego-consciousness and the unconscious mind; thus, creating His only begotten son: i.e. Chr ist: the Tr inity reveals itself. This is taking place nanosecond by nanosecond; because, the moment that Chr ist enters the wor ld He is crucified and bur ied. Chr ist r ises from the dead and is reborn and dies, is bur ied and again r ises from the dead and this ceaselessly takes place throughout all time and eternity.

This entire process is laid out ‘once’ in Char tres’ Romanesque and Gothic cathedrals and it is only the sincere and studious initiate that will envisage what life is all about.

How this latter is known about the psyche transubstantiating the pure spir ituality into religious mores is seen in the chevets

The seven chapels radiating out from the east end of Chartres Gothic Cathedral has much symbolism imposed upon them.Paradigm: Tr inity. This is because the Tr inity can only be defined in

east-west-cor r idor-of-time via Chr ist consciousness, which has mystically alchemically marr ied Boaz (ego-consciousness) and Jachin (unconscious mind)defined in the spir itual realm of the Unknown God: spir itual

The three large chapels (Grammar-Archetypal), Rhetor icsmaller chapels, which seem to be insignificant, would symbolize tQuadr ivium: Four Mathematical Sciences (Ar ithmetic, Music/Harmony, Geometry and Astronomy/Astrology). L iberal Ar ts will be seen later .

The two additional chapels: Saint Piatus on the south east cathedral and the Saint Vendome also on the south side of the cathedral, totaling the amount of chapels to nineof years after the dedication of Chartres Cathedral.

A basilica like Saint Peter ’s Basilicaupon even after five hundred yearschapels added to Char tres Cathedral wereArchetypal letters formatting

In addition the three large chapels would symbolize one of the pr imary Archetypal numbers 1-9 in the Hebraic coder creating three of the twentyletters that coincide with the Tr initar ian Paradigm: Tr inityCosmic (see my paper on THE O

11 https://www.slideshare.net/williamjohnmeegan/the

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How this latter is known about the psyche transubstantiating the pure spir ituality into religious mores is seen in the chevets: chapels at the east end of the cathedral.

The seven chapels radiating out from the east end of Chartres Gothic Cathedral has much symbolism imposed upon them. The three large chapels symbolize the Tr initar ian Paradigm: Tr inity. This is because the Tr inity can only be defined in the real wor ld via the

time via Chr ist consciousness, which has mystically alchemically consciousness) and Jachin (unconscious mind). The Tr inity can

in the spir itual realm of the Unknown God: spir itual undefined forces of creation.The three large chapels also symbolizes the Tr ivium: Three Grammatical Arts

Archetypal), Rhetor ic-Existential and Logic/Dialectics-Cosmic). The four smaller chapels, which seem to be insignificant, would symbolize the Quadr ivium: Four Mathematical Sciences (Ar ithmetic, Music/Harmony, Geometry

The Seven L iberal Ar ts will be seen later .

The two additional chapels: Saint end of the

Saint Vendome Chapel side of the cathedral,

the amount of chapels to nine. These two additional chapels were added hundreds of years after the dedication of Chartres Cathedral.

like Saint Peter ’s Basilica, into modern times, can continuoeven after five hundred years to complete the or iginal plan. These two additional

added to Char tres Cathedral were basically built to complete the count of t the Tr initar ian Paradigm: Tr inity.

In addition the three large chapels would symbolize one of the pr imary Archetypal Hebraic coder creating three of the twenty-seven letters: 22 + 5 final

letters that coincide with the Tr initar ian Paradigm: Tr inity: Archetypal, ExistentiTHE ORIGIN OF THE ANCIENT HEBREW ALPHABET

https://www.slideshare.net/williamjohnmeegan/the-or igin-of-the-hebraic-alphabet

How this latter is known about the psyche transubstantiating the pure spir ituality into

The seven chapels radiating out from the east end of Chartres Gothic Cathedral has The three large chapels symbolize the Tr initar ian

the real wor ld via the

time via Chr ist consciousness, which has mystically alchemically . The Tr inity cannot be

undefined forces of creation. the Tr ivium: Three Grammatical Arts

Cosmic). The four

added hundreds

can continuously be build to complete the or iginal plan. These two additional

to complete the count of the nine

In addition the three large chapels would symbolize one of the pr imary Archetypal seven letters: 22 + 5 final

: Archetypal, Existential and RIGIN OF THE ANCIENT HEBREW ALPHABET11).

CHARTRES CAHEDRAL

he image of the West cathedral that was built after the fire of 1134AD and it is conceptually whole of the religious teachings of the Roman Catholic Church

From modernity perspective this would sound r idiculous; becauCatholicism would fill a library.

There are not that many Cathedral, who would take the time out to study the symbolism on any other par t of the cathedral; have to know what it symbolized. Religious study is not for the major ity of humanity; because, for the most par t Attention Deficit Hypoactive Disorder (ADHD). Most people are easwhat they know nothing about or what their psyches are not enamored by.

The two towers have already been somewhat discussed. The central part of the West Façade of Chartres Cathedral is essentially what the whole of the Gothic cathedral is built upon.

A Hindu Pr iest visited Char tres Cathedral and notice that the symbolism in the central part of the West Façade coincided perfectly with the Hinduism Seven L ight Chakra system. As I am wr iting this I notice another secret that is not explicitly eAdd up the numerics on the r ight that coincide with the Seven Light Chakras and they total to 1050, which is the aggregate of oneWISDOM, which the Hindus also uChakras has everything to do with the word count inthe symbolism of the three and one half (3½) coiled Kundalini is expressed explicitly in the first chapter of Genesis.

The previous discussion about the seven cperfectly, spir itually and conceptually coincides with this data about the Seven L ight Chakras. The spir ituality is flowing down the east-west-cor r idor-of-time.

One of the most interesting symbols on the West Façade of Chartres Cathedral is over the central door of tr iptych: Chr ist sitting on his throne: i.e. Kamea of Saturn, in the center of the Vesica Piscis surrounded by the four beasts: Angel, Eagle, L ion and Bull symbolized as the four gospel wr iters. Chr ist symbolizes the Tr inity; because, He mystically viaUnknown God, amalgamates the heavens and ear th. Chr ist is neither the spir itual forces of creation per se nor the ear th; rather, he is a composite of those two diametr ically opposite forces creating Chr ist consciousness.

Look at where each of the four Eagle is looking nor thward, the L ion is looking eastward and the B

T

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CHARTRES CAHEDRAL’S MERKABAHest Façade of Chartres Gothic Cathedral is the section

cathedral that was built after the fire of 1134AD and it is conceptually whole of the religious teachings of the Roman Catholic Church are condense into

From modernity perspective this would sound r idiculous; because, the so-call history of Catholicism would fill a library.

There are not that many members of the laity, even those that have visited Char tres who would take the time out to study the symbolism on the West Façade no less

cathedral; however , even those that did study that symbolism would have to know what it symbolized. Religious study is not for the major ity of humanity;

for the most par t they have Attention Deficit Hypoactive Disorder

Most people are easily bored by what they know nothing about or what their psyches are not enamored by.

The two towers have already been somewhat discussed. The central part of the West Façade of Chartres Cathedral is essentially what the whole of the Gothic

A Hindu Pr iest visited Char tres Cathedral and notice that the symbolism in the central part of the West Façade coincided perfectly with the Hinduism Seven L ight Chakra system. As I am wr iting this I notice another secret that is not explicitly expressed about this section of the West FacadeAdd up the numerics on the r ight that coincide with the Seven Light Chakras and they total to 1050, which is the aggregate of one-hundred (100), which is the 10 x 10 MATRIX OF WISDOM, which the Hindus also used to build their sacred spaces. In fact the Seven L ight

ing to do with the word count in the first four chapters of Genesis and three and one half (3½) coiled Kundalini is expressed explicitly in the

iscussion about the seven chevets on the eastside of Chartres Cathedral spir itually and conceptually coincides with this data about the Seven L ight

Chakras. The spir ituality is flowing down time.

One of the most interesting symbols on the West Façade of Chartres Cathedral is over the central door of the tr iptych: Chr ist sitting on his throne: i.e. Kamea of Saturn, in the center of the Vesica Piscis surrounded by the four beasts: Angel, Eagle, L ion and Bull symbolized as the four gospel wr iters. Chr ist symbolizes the Tr inity; because, He mystically via the spir itual forces of creation: Unknown God, amalgamates the heavens and ear th. Chr ist is neither the spir itual forces of creation per se nor the ear th; rather, he is a composite of those two diametr ically opposite forces creating Chr ist consciousness.

Look at where each of the four beasts are facing. The Angel is looking southward, the Eagle is looking nor thward, the L ion is looking eastward and the Bull is looking westward:

MERKABAH section of the

cathedral that was built after the fire of 1134AD and it is conceptually what the are condense into.

call history of

even those that have visited Char tres West Façade no less

, even those that did study that symbolism would have to know what it symbolized. Religious study is not for the major ity of humanity;

coincided perfectly with the Hinduism Seven L ight Chakra system. As I am wr iting this I about this section of the West Facade.

Add up the numerics on the r ight that coincide with the Seven Light Chakras and they total MATRIX OF

In fact the Seven L ight the first four chapters of Genesis and

three and one half (3½) coiled Kundalini is expressed explicitly in the

hevets on the eastside of Chartres Cathedral spir itually and conceptually coincides with this data about the Seven L ight

the spir itual forces of creation: Unknown God, amalgamates the heavens and ear th. Chr ist is neither the spir itual forces of creation per se nor the ear th; rather, he is a composite of those two diametr ically opposite

The Angel is looking southward, the ull is looking westward:

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This is clear ly a spher ical image being infer red with the Father (down), Son (center ) and Holy Spir it (up) going ver tically. This is the selfsame spher ical symbolism displayed by the first word of Genesis: BERESHITH. The Zohar says the BERESHITH represents the six directions. When each of the letters of the word BERESHITH ּבראשית are designated a direction there is a great deal more data that emanates out of it. The center of the sphere is symbolized by the next letter into creation: i.e. QOPH ק to form the sphere.

The two circles creating the Vesica Piscis represent the wheels of the Merkabah. The four beasts symbolize the Fixed Signs of the Zodiac, which infer the whole of the Zodiac/Calendar year. When looking at the ear th’s terminator it is easily envisage that the light side of the earth’s terminator symbolizes six months of the Calendar year and the dark side of the terminator symbolizes six signs of the Astrological year . Both of these cycles go in diametr ically opposite directions of each other ; thus, symbolizing the two Merkabah Wheels gyrating creating the tetrahedral forces of creation.

I interpret an initiate coming out of the secular wor ld going towards the religious wor ld of Chartres Cathedral as facing the West Façade religiously diametr ically opposite to the religious teachings of Chr ist. This is the mir ror -imaging process similar to how an individual looks into a mir ror . The individual looking in a mirror see his left side on the r ight side of the image in the mir ror and the same thing goes for the r ight side being the left side of the image in the mir ror ; thus, it is easily envisaged that the Nor th Tower: Boaz - Sun belongs on the south side of the West Façade and the South Tower: Jachin – Moon belongs on the north side of the West Façade. Above LIMBO was discussed and this being outside of the cathedral in the real wor ld facing the West Façade symbolizes the psychic state of L IMBO. I t is only when enter ing the cathedral that everything turns topsy-turvy from the mundane secular wor ld’s perspective.

The best internet site that displays all the stain glass windows of Char tres Cathedral is The Medieval Stain Glass photographic Archive (copyr ighted by Painton Cowen)12.

The Nor th and South Rose Windows in Chartres Cathedral symbolize the two Merkabah wheels.

12 Char tres Cathedral stain glass windows site: http://therosewindow.com/pilot/Char tres/table.htm

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CHARTRES CATHEDRAL’S NORTH ROSE WINDOW

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CHARTRES CATHEDRAL’S SOUTH ROSE WINDOW

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I t is obvious, at least to me, that the Nor th and South Rose Windows in Char tres Cathedral symbolize the two Merkabah wheels and the way to demonstrably demonstrate this is to point to the Fleur de lis (L ily) images well laid out and symbolized in the North Rose Window and the checkerboard images (MATRIX OF WISDOM) well laid out in the South Rose Window.

The very beginning of the Zohar speaks of the L ily: Fleur de lis, which is esoter ically structured into the first 23-words of Genesis (see PART ONE). The seven chevets on the east end of Char tres Cathedral have already been discussed; however , these chevets are understandably symbolizing the creation of the Hebraic Coder , which is essentially manifested creation.

The L ily per se, on the Nor th Rose Window, symbolizes from an ear thly spir itual perspective the pure spir itual forces of creation: i.e. God that has emanate into manifested creation. Those invisible indefinable spir itual forces: God per se can neither be classified, diversified nor individualized. Instead of saying or wr iting the words SPIRITUAL FORCES OF CREATION: GOD, the L ily: Fleur de lis takes on that symbolic role. The phrase “ The gold and blue diaper13 filling the quatrefoils14 represents the Pierre Mauclerc” is on the w.122 (Delapor te 95) - South Rose Window; though, Painton Cowen did not wr ite this phrase on the North Rose Window site it is still applicable to “ The gold and blue diaper filling the quatrefoils” . There are twelve blue and gold diapers filling the quatrefoils between the twelve kings and twelve prophets on the North Rose Window and there are twelve blue and gold diapers filling the quatrefoils between the twenty-four elders on the South Rose Window.

The Nor th and South Rose Windows in Chartres Cathedral are beautifully laid out in descr ibing the MATRIX OF WISDOM: Two-Par t Psyche: Ego-consciousness and the Unconscious Mind (Nor th Rose Window) and the MATRIX OF WISDOM: The Eternal Temple of God (South Rose Window).

The spir itual forces of creation: God that emanates into manifested creation is analogous to leaven as Jesus descr ibes in his parable: “ I t is like leaven, which a woman took and hid in three measures of meal, till the whole was leavened (Luke 13-21).”

13 Definition of DIAPER: an allover pattern consisting of one or more small repeated units of design (as geometr ic figures) connecting with one another or growing out of one another with continuously flowing or straight lines. https://www.merr iam-webster .com/dictionary/diaper 14 Quatrefoil: an ornamental design of four lobes or leaves as used in architectural tracery, resembling a flower or four -leaf clover

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NORTH ROSE WINDOW

here is much to interpret from out of the North and South Rose Windows in Char tres Cathedral (see images of the Rose Windows above). I will interpret each window separately and in as much detail as possible.

The center of Nor th Rose Window is the first thing to consider ; because, everything in the Nor th Rose Window radiates out from it. The Virgin Mary has the Chr ist Child in her hands. In every sense the Chr ist Child is the Tr initar ian Paradigm: Tr inity that has emanated into the psyche of the initiate. The Virgin Mary is the Holy Spir it; for the reason that, she is no longer the unconscious mind; though, she as the Holy Spir it does symbolize the unconscious mind via the auspices of Chr ist consciousness, which is actually the Tr initar ian Paradigm’s: Tr inity’s collective consciousness (Chr ist, ego-consciousness and the unconscious mind).

The Chr ist Child in the hands of the Virgin Mary is per se the Initiatic Visionary Exper ience. When an initiate received a spir itual vision it is the sum-total-of-all-knowledge whether it is recognized as such or not. The first thing that this vision accomplishes as a gift to the initiate that obeys the commandments of God is to destroy a good deal of his or her addictions and/or obsessions; however, the initiate in no way can comprehend the WORD OF GOD. I t takes a lifetime of research to understand the teachings of one’s religions. I t is not learned overnight even with Chr ist consciousness; however , the Initiatic Visionary Exper ience gives the initiate spir itual insight that the uninitiated does not have.

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At the bottom four out of the five lancets in the Nor th Rose Window shows men dying or who will eventual die because of their sins against God. These men receive the Initiatic Visionary Exper ience and completely ignored it and they paid the consequences of their action. Above these four condemn men are two Prophet K ing and two High Pr iest that shows vir tue over the sins of those they stand over . In the main body of the South Rose Window there are twelve angels (Cosmic), twelve kings (Existential) and twelve prophets (Archetypal) that radiate out from the center where the Virgin Mary and the Chr ist Child are centered: notice that there are twelve Fleur de lis circling the Virgin Mary and the Chr ist Child infer r ing they are completely protected by the spir itual forces of creation: God. The twelve angels per se are also group into the Doves of the Spir it: Cosmic, Censing Angels and Angels holding candles: Existential and Seraphim: Archetypal. I t is no coincidence that the angels are in descending order . The Tr initar ian Paradigm: Tr inity is seen all the time in many genres of thought. The angels themselves symbolize the Tr initar ian Paradigm: Tr inity; however , they are still par t of the whole when they radiate out. Beyond the Virgin Mary and the Chr ist Child the twelve angels collective symbolize the Cosmic, the twelve Kings symbolizes the Existential and the twelve Prophets symbolize the Archetypal.

Each of the twelve Kings is holding a staff with a Fleur de lis at its top. The staff infers that the K ings are guided by the spir itual forces of creation: God; though, they live in an Existential wor ld. All the Kings are enclosed in a square with one corner cut off as if the message is that anything in the mater ial wor ld is a slanted perspective to the TRUTH even if guided by the spir itual forces of creation: God. This is because as soon as the spir itual forces of creation come into the manifested creation it begins to decay. Each of these slanted squares has its slanted end pointing to one of the prophets and between the Kings and Prophets are the twelve quatrefoils with the Fleur de lis in each of them as if infer r ing that the spir itual forces of creation is harmonizing into unity these two diametr ically opposite groups: Church (Prophets) and State (K ings).

The Prophets are sur rounded by MATRIX OF WISDOM kind of cells; whereas, the angels are all surrounded by more loosely bound cells: Flower of Life. This is important to notice when doing a comparative analysis with the South Rose Window. I t is as if the angels’ missive is divine and the Prophets interpret them into an ear thly format and this ear th format is transposed sur rounding the angels in the South Rose Window.

The overall message of the Nor th Rose Window is that it radiates out over to the south end of the transept to the South Rose Window transubstantiating, via the Euchar istic Process (Melchizedek: Genesis Chapter fourteen), it missive into the Garden of Eden. These Nor th and South Rose Windows are the Merkabah wheels, which symbolizes the myster ies of the Roman Catholic Church’s Holy Mass. The Nor th Rose Window symbolizes the reading of the Old Testament, which is transubstantiated into the New Testament located in the South Rose Window. K ing David: gatherer of the temple mater ials (r ight side of the brain) and King Solomon: builder of the temple (left side of the brain) are well display to infer the initiate’s mission in life is to psychically build the Eternal Temple of God.

Finally, it should be realized that the Nor th Rose Window symbolizes the spir itual Moon (evening): female: Virgin Mary with the infant Chr ist Child: i.e. dawn of spir ituality. The South Rose Window symbolizes the spir itual Sun (morning): male: Chr ist fully matured infer r ing that the initiate’s psyche: Chr ist consciousness has a full understanding of life and the spir itual laws of the Tr initar ian Paradigm: Tr inity; hence, both the Nor th and South Rose Windows symbolize the first day of creation:

“ And Elohym said, let there be LIGHT: and there was LIGHT. And Elohym saw the LIGHT, that it was good: and Elohym divided the LIGHT from the DARKNESS. And the evening and the morning was the first day (Gen. 1:3-5)”

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SOUTH ROSE WINDOW

he halo-cross on Jesus’ head in both the Nor th and South Rose Windows is a direct reference to the first word of Genesis BERESHITH; for the reason that, it is RESH ר (Cosmic) the twentieth letter of the Hebraic Alphabet that descend from on high to

gift the initiate to the Initiatic Visionary Exper ience; who’s psyche then become Chr ist: i.e. Chr ist consciousness. The letter /word RESH ר symbolizes the head.

Symbolically no other symbol other than the symbolism of Chr ist can wear a halo-cross. There is no doubt that the halo-cross implied Chr ist consciousness; because, that is what RESH ר symbolizes. The Roman Catholic Church instructs the laity that each member of the laity is Chr ist.

Colors on different symbols of the stain glass in Char tres Cathedral are impor tant to interpret. In the center of the South Rose Window Chr ist’s halo is blue; whereas, when He is depicted as a child in both the Nor th and South Rose Windows his halo is red, which I believe this red color symbolizes the Archetypal: dawn of initiate’s spir itual awareness The Virgin Mary’s halo in the Nor th Rose Window is blue and in the lancet below it, as a child the Virgin Mary’s halo is gold and in the South Rose Window the Virgin Mary’s halo in the lancet is red. These three colors are the pr imary colors that emanate out of the pr ism: blue, red, yellow/green, which I believe symbolizes the unseen invisible WHITE LIGHT: i.e. the spir itual forces of creation: Unknown God. Since the Virgin Mary symbolizes the psyche’s spir itual unconscious mind: Holy Spir it the Virgin Mary as a child with a golden halo on the North Rose Window’s lancet implies that every child born into the wor ld is blessed by God and endowed with Chr ist consciousness; though, the child will not know intellectually

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how to use it; but, instinctually uses it proper ly. This is actually witnessed by mothers raising their children that play with invisible playmates. Notice that Mary’s mother Anne’s staff is topped with the Fleur de lis, which would indicate that the Virgin Mary was taught the spir itual laws of creation from her infancy.

However , Jesus’ as a child on both the Nor th and South Rose Windows’ lancets has a red halo; whereas, as an adult Jesus is depicted in the center of the South Rose Window with a blue halo. The red halo obviously depicts a child’s psyche as Archetypal; whereas, the more mature initiates would be wear ing a blue halo, which would symbolize the Existential; though, a person may have Chr ist consciousness it can only be expressed archetypally or existentially. The Cosmic level is invisible: unexplainable.

The image of the zodiacal cycle below exudes the Tr initar ian Paradigm: Tr inity. Notice how Luke (Bull) and Mark (L ion) wear ing red halos are on the per iphery of the South Rose Window’s lancets. Neither Luke nor Mark was Chr ist’s or iginal disciples; whereas, Matthew (Angel) and John (Eagle) have blue halo and both were Disciples of Chr ist. Notice also that both Matthew and John are in the higher elevation of the Zodiac; whereas, Luke and Mark are on the lower level of the Zodiac.

What I mean by this is, if the reader studies this zodiacal diagram it will be easily envisage, that all of life is lived between the ears and that the twelve zodiacal signs are symbolically aligned to the cerebral lobes of the brain: i.e. this is how the manifested universe is created by the phantasmagor ia of the psyche. The manifested universe: i.e. “ the earth was without form and void and darkness was upon the face of the deep (Gen. 1:1)” : i.e. mater ial creation is an illusion of the psyche: THE WORLD DOES NOT EXIST, IT NEVER DID EXIST AND IT NEVER WILL EXIST. Astrology is not a for tune telling mechanism it is a numer ic and symbolic tool that allows the initiate to interpret the sacred scr iptures and religious ar tworks around the wor ld mythologically and symbolically.

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Matthew (blue existential) and Luke (red - archetypal) have opposite halos; however , they are looking into each other ’s faces (they are paired off): i.e. mirror -imaging each other . I , personally, interpret this to have something to do with the genealogies of Jesus Chr ist; for the reason that, Matthew and Luke are the only two gospel wr iters with Jesus’ genealogies. Also the mythoi of Matthew (angel – Air sign) have him as an accountant symbolizing him as being more abstract in his thinking and Luke (Bull – Ear th sign) mythoi have him as a physician making his thinking more down to ear th: i.e. Common Sense: reason and logic. John is very mystical and more on a cosmic spir itual level of thought and he and Mark are facing each other mir ror-imaging each other. Mark symbolizes the spir itual sun: i.e. the genuflected ego-consciousness (hubr is).

Mark, Matthew and Luke gospels histor ically have been known as the Synoptic Gospels15; for the reason that, Matthew and Luke would seem to have synched much with Mark’s gospel narrative; though, all four gospel wr iters are aligned to their own astrological element: Earth (Luke), Air (Matthew), Fire (Mark) or Water (John), which each of them based the overall genre of their gospel wr itings on.

I t is difficult to wrap one’s mind around; but, think of the back of the head (Occipital lobes) as being in the EAST and the front of the skull (head) as symbolizing going WEST; whereas, the r ight side of the brain symbolizes the NORTH and the left side of the brain symbolizes the SOUTH.

This is how and why Freemasonry architecturally designed the landscapes of the Capitol Building’s grounds in Washington DC in the shape of a skull. Go to Map-Quest on the Internet and focus in on the four streets sur rounding the Capitol Building and you’ ll see what I am talking about. I br ing this to the fore only to emphasize that Roman Catholic Churches in antiquity were designed in the shape of a skull: Golgotha: Place of the Skull. When both Chartres Cathedral and the Sistine Chapel are analyzed in this manner all of the secrets of the sacred scr iptures and the teachings of the Roman Catholic Church reveal themselves.

The above image of the zodiacal cycle aligned to the cerebral lobes of the brain shows that the sign of Leo: Frontal Lobe (Mark’s gospel) is on the r ight side of the brain, which means it governs the left hemisphere of the brain where Matthew’s (left Occipital lobe) and Luke’s (left Temporal lobe) gospels are located on the left side of the brain; though, ego-consciousness (Leo) can be transform into Chr ist consciousness it is still the only means in interpreting and wr iting the mythoi of Chr ist consciousness using the east-west-cor r idor-of-time: histor ical time-line; whereas, Cancer : Frontal lobe is in the left hemisphere of the brain governing the Eagle: r ight Par ietal lobe (John’s gospel), which is located in the r ight hemisphere of the brain.

Notice that the four gospels represent collectively all for cerebral lobes of the body: Matthew (Occipital Lobe: Aquar ius - AIR), Mark (Frontal Lobe: Leo - FIRE), Luke (Temporal Lobe: Taurus - EARTH) and John (Par ietal Lobe: Scorpio - WATER).

This has everything to do with the LIGHT (Chr ist) divided from the DARKNESS in the first day of creation, which is symbolically extrapolated out to the first four days of creation. And this is why the entire Old Testament is symbolized by the equinoctial signs of Gemini (Air ), Taurus (Ear th) and Ar ies (Fire) and the New Testament is symbolized by the equinoctial sign of Piscis (Water ).

There is no doubt that the four gospel wr iters learned from the Old Testament and that is why they are depicted upon the shoulders of intellectual ‘giants’ that wrote beautiful books in the Old Testament; however, all four of these Old Testament wr iters are looking at Chr ist as a child; however , being male (ego-consciousness) instinctually doesn’ t allow them to know Chr ist as well as Mary (unconscious mind). The Old Testament wr iters that have

15 Synoptic Gospels: https://en.wikipedia.org/wiki/Synoptic_Gospels

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no halos cannot achieve Chr ist consciousness beyond the archetypal; whereas, the New Testament wr iters are guided by Mary and Jesus, which means that anything that comes out of Mary is Cosmic; but, can only be revealed archetypally and/or existentially.

I interpret Anne the mother of the Virgin Mary as the Unconscious Mind pr ior to it becoming Holy Spir it: i.e. Virgin Mary. From this perspective it can be envisaged as to why the Virgin Mary was conceived without sin: Immaculate Conception. Anne in the central lancet on the Nor th Rose Window is holding a decorated Fleur de lis, which indicates that Anne taught the Virgin Mary the teachings of the spir itual forces of creation: Unknown God. The Virgin Mary then matures to adulthood and conceives the Chr ist Child. Look at the Virgin Mary with a Fleur de lis in her r ight hand holding the Chr ist Child in her left hand exactly like her mother Anne holds her in the lancet below the Nor th Rose Window. Now follow that up with the four gospel wr iters sitting on the shoulders of giant: Prophets of the Old Testament. I t is without doubt that Mary was educated by her mother Anne and that Chr ist was educated by the Holy Spir it: his mother Mary.

What are called ‘Donor Figures’ , I don’ t know why; because, it is apparently from the mythoi of the stain glass windows that is a pure assumption on modernity part. Realistically, people that donate to a religious ar twork or cause would be anonymous; because, donors’ names and clothing would have nothing to do with the mythoi of the stain glass storyline or religious project. To insert their names would offset the storyline; because, such inser tions would draw attention to it.

However , the mythoi of Char tres Cathedral or any other religious project could very well introduce donors to a religious cause to confuse the infidels and/or the profane. Here at the bottom of the South Rose Window’s lancets are the Arms of the Dukes of Bretagne. Apparently, the mythoi of Pier re de Mauclerc and his family and fr iends are wear ing clothing that conveys the Dukes of Bretagne Coat of Arms.

I find it extremely interesting that the entire border sur rounding the stain glass lancet window containing Ezekiel and Saint John along with Pier re de Mauclerc is the design of the Fleur de lis. I t implies that these are the only individuals with Cosmic-knowledge: i.e. Chr ist consciousness. This is not surpr ising seeing this paper in discussing Ezekiel’s Merkabah and that the Nor th and South Rose Windows symbolize those Merkabah wheels. I think this is analogous to Saint Anne in the Nor th Rose Window lancet holding a Fleur de lis as if it is the future education of the child Mary, which allows the unconscious mind (Mary) to achieve Chr ist consciousness.

I take the wear ing of the cloths with Coat of Arms on it as symbolizing the spir itual mentality of the people wear ing those cloths. The Coat of Arms became their raison d’etre: i.e. reason for living. This MATRIX OF WISDOM that the Coat of Arms is designed from is not known by the entire laity. I f any of the laity know of it, it would be a small fraction of one percent of the laity. To choose the design of the clothing to por tray the MATRIX OF WISDOM’s mentality was a br illiant idea. Michelangelo is said to have designed the outfit of the Swiss Guard at Vatican City. I take this design to symbolize the symbolism of the spir itual forces of creation coming from the nor th symbolically building the Eternal temple of God; thus, this is apparently the reason that the Swiss Guard’s clothing at Vatican City are colored ver tically in a skip pattern sequence.

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The twelve quatrefoils in South Rose Window have this checkerboard pattern in their design mirror-imaging the design of the Arms of the Dukes of Bretagne. The twelve quatrefoils in the Nor th Rose Window are designed as the Fleur de lis transubstantiating over to the North Rose Window to transform into the Coat of Arms of the Dukes of Bretagne. This transubstantiation takes place because the spir itual unconscious mind (Mary: Holy Spir it) symbolizes the female: r ight side of the brain transforming to ego-consciousness, which symbolizes the male: Chr ist consciousness. This is why the outer mater ialistic wor ld is basically a Patr iarchal culture; however , the wor ld is initially a Matr iarchal culture to every new born child. Once the child reaches puberty he or she is introduce into the outer wor ld’s societal mores.

I have the MATRIX OF WISDOM in alignment with the bottom lancet images to illustrate what the Arms of the Dukes of Bretagne symbolize. I t is this matr ix that created the games of Chess and Checkers and that is why the Coat of Arms looks like a checkerboard. Freemasonry’s temple floors and/or Catholicism’s religion floors are also designed in the checkerboard pattern.

More evidence of this is found in the West Rose Window where Chr ist sits in the center sur rounded by the Kamea of Saturn: i.e. 3 x 3-square (lead framework of that par ticular section of the West Rose Window). This Kamea of Saturn is seen in the red por tion of the MATRIX OF WISDOM. On the outside of the West Façade above the central door of the tr iptych Chr ist sits in the center of the Vesica Piscis on a throne, which beneath the throne the design clear ly infers the KAMEA OF SATURN. I believe that the two examples I have given about the Kamea of Saturn inside and outside the West Façade symbolizes Chr ist conquer ing TIME. The Kamea of Saturn symbolizes Saturn/Cronus: i.e. Father of Time. Jesus said, “ I have overcome the world (John 16.33)” . Remember that the Nave and the Apse symbolizes the east-west-corr idor -of-time. In order to obtain Chr ist consciousness the initiate has to overcome time: the nonsense of the wor ld.

The three cycles radiating out from Chr ist on the South Rose Window symbolizes the Tr initar ian Paradigm: Tr inity. Chr ist symbolizes the entire Tr inity: Father (spir itualized ego), Son (Chr ist) and Holy Spir it (spir itualized unconscious mind). Anyone of the personages of the Tr inity would symbolize the whole of the Tr inity not just Chr ist per se.

The first circle radiating out from the image of Chr ist has four beasts symbolizing the four New Testament gospels and eight angels. The four beasts are in the location of the Fixed Quadruplicities not exactly where they belong (the L ion and Bull out of place); but, I ’ ll get to that later . The four beasts are one-third of the twelve images in the cycle, which infers that the eight angels are in two groups of four and this par ticular pattern one-third and two-thirds pattern, will again play out in the analysis of the twenty-four (24) elders in the South Rose Window. I take this pattern of the Tr initar ian Paradigm: Tr inity as transubstantiating over from the Nor th Rose Window; for the reason that, the first circle radiating out from Virgin Mary and the Chr ist Child symbolizes four Doves and eight angels, which are in two groups of four angels each. This one-third and two-thirds pattern is structured into the first two verses of Genesis: seven words in the first verse and four teen words in the second verse.

Another cur ious interpretation of these four beasts and eight angels on the South Rose Window is that all twelve images in the first cycle are all encased in their individual coffin like image, which I interpret to symbolize the outer wor ld being nothing more than a coffin. The cur ious thing about these twelve coffins like images is that every single one of them, other than the circle with the beast or angel in it, are exact duplicates of each other . There is no var iation about any of the coffins. This coffin pattern found in the South Rose Window’s first circle radiating out from Chr ist seems to have transformed from the circle of twelve prophets on the North Rose Window. The first circle radiating out from the Virgin Mary and Child also has it twelve images structured in coffin like images; however , the design in

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that pattern is more akin to the Flower of Life rather than the MATRIX OF WISDOM. I have always been cur ious about the Flower of L ife; however , I never gave it much consideration; because, I believed it was a var iation on the MATRIX OF WISDOM. Char tres Cathedral North Rose Window seems to infer that the Flower of L ife would symbolize the soul before the soul transubstantiated into the Two-Part Psyche: MATRIX OF WISDOM.

Look at the South Rose Window central circle of twelve elders; for the reason that, they literally symbolize the Zodiac/Calendar year. Surrounding each of the elders is a flowery pattern and the twelve elders emanate the Quadruplicities of Astrology. The other twelve elders on the outer r im of the South Rose Window exude the same flowery pattern. In the central circle of twelve elders I color coded arrows pointing to the same pattern. The Quadruplicities infers the twelve signs of the Zodiac.

The symbolism that infers the Calendar year is seen in the musical instruments that all twenty-four elders are holding: either a harp or a guitar . In the central circle of elders five of the elders, all on the east side of the circle, are holding harps. The other seven elders are holding guitars. There are four months with thir ty-days and one month with 28/29-days. There are also seven months with thir ty-one.

The outer circle of elders on the r im of the South Rose Window has three elders holding harps on the eastside of the window. The other nine elders are holding guitars.

The only image on the Nor th Rose Window that has a harp is K ing David in the lancet below. There are no images on the North Rose Window that has a guitar ; thus, I interpret the harps as the Cosmic 8/24 and the guitars as the Archetypal and Existential 16/24. Additional each of the twenty-four elders is holding a fial of perfume.

The twenty-four elders displayed in the two circles on the South Rose Windows are obviously an amalgamation of the Kings and Prophets separated into two circles on the Nor th Rose Window: i.e. God making Adam into his image. On the outside of the Nor th Rose Window in the sculptures reliefs there is a depiction of God making Adam into his own image: thus, that is the apparent theme of these windows.

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CONNECTING THOUGHTS LIGHT culled out of the DARKNESS

zekiel’s Merkabah is symbolized by the North and South Rose Windows going in opposite directions and there is no doubt that the altar in the apse is the seat of the Merkabah. The whole of the Roman Catholic Church’s Holy Mass is a quick study

of the very concepts laid out by these two windows.

CEREBRAL LOBES and ASTROLOGY

he overall religious pattern is obviously a mir ror-imaging of the cerebral lobes of the brain. The theme of religion and the dynamics of the cerebral lobes are without a doubt a direct commentary on the duel matr ix: MATRIX OF WISDOM’s Two-Par t

Psyche transforming into the MATRIX OF WISDOM’s Eternal Temple of God. The numerics of Astrology exude out from the MATRIX OF WISDOM and then the

numerics are mythologized into many mythoi and Astrology is one of those pr imary patterns. Astrology was created in the outer wor ld via human par lance to aid the initiate to read the literature and artworks of all religions around the wor ld.

As inane as this all may sound to modernity iconoclastic thought; because, the infidel and the profane are unaware of these connections; but, anyone that gives ser ious thought to the above patterns introduced into this paper will have to find a way of justifying the synchronization of the Cerebral Lobes with the twelve signs of the Zodiac’s astrological pattern.

For the longest while I could not grasp how or why Astrology (the matr ix’s conceptual patterns) coincided with the cerebral lobes. How could it possibly be that the cerebral lobes of the brain coincide with the myster ies of the tetrahedral forces of the two-part psyche, which conceptually illustrates how the initiate lives out his or her life in the phantasmagor ia of the of psyche? This was difficult theme to wrap my mind around.

I f it was not for the mythoi of Astrology coinciding with the cerebral lobes I would not have envisaged the overall pattern that the dynamics of the psyche exudes. I use to believe that the spir itual forces of creation: Unknown God radiated out into all the souls of existence I believed that the individual was the one that created his own wor ld living upon the matr ix of the psyche. Well that is essentially how the individual does live out his life in the phantasmagor ia of the psyche

Many times questions are answered in one’s quest for the knowledge of the WORD OF GOD; however , embedded in those answers are fur ther more important truths that escape one’s immediate attention.

The key to understanding the dynamics of the psyche is to understand the duel nature of the matr ix: MATRIX OF WISDOM: Two-Par t Psyche and the MATRIX OF WISDOM: Eternal Temple of God. The Two-Par t Psyche: the illusion of the outer wor ld, which knows nothing about the Eternal Temple of God.

I t finally dawn on me that the Eternal Temple of God was a permanent fixture via the manner in which the cerebral lobes pattern were set up around the brain; thus, there is no escaping the Eternal Temple of God; for the reason that, it is already perpetually in existence via the initiate’s personal universe; whereas, the MATRIX OF WISDOM: Two-Part Psyche is analogous to the Prodigal Son.

What emphasizes this conceptualization of the Eternal Temple of God being a permanent fixture is the fact that the sacred scr iptures are perfectly structured scientifically; though, the surface mythoi would suggest otherwise. I f it was not for the

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integration of the SEVEN LIBERAL ARTS into the texts of the sacred scr iptures I would not have conceived this overall theme.

ARCHITECTS and ACADEMICS

nother mystery about Char tres Cathedral complained by modern architects is that when the whole of the cathedral is analyzed; thought, it appears to be perfect visually from a distance, is structured totally chaotic according to reason and logic

common sense standards. This same chaos, according to modernity standards, is patterned into the Hebraic texts

of the Old Testament; thus the reason I see Char tres Cathedral structured in the selfsame pattern of chaos. Strong Exhaustive Concordance gives a number sequence to all the Hebraic words of the Hebraic texts; however , a very diligent initiate that follows up on the Hebraic texts to see if it coincides with Strong’s work will find that many of the words of the Hebraic texts are not in Strong’s work. Strong’s work and scholars in the hallow hall of Academia will claim that these other words are der ived from the words suggested by Strong’s numerical code. I am not saying that Strong’s Exhaustive Concordance is not of any wor th. As pr imitive as Strong’s work is it is the best work academia has to study the mythological storyline of the Old and New Testaments.

However , I beg to differ from Strong’s numerics. Or iginally, the Old Testament Hebraic Texts was wr itten spir itually without jots, tittles or verbs. Words were created by the Hebraic Coder and space into word-counts: i.e. verses, chapters and books. Each word was to be read letter by letter not word by word in and of itself. Reading the texts with jots, tittles and verses psychically wipes out the fact that the letters exist. Jots, tittles and verbs are added to the Hebraic letters to give the surface texts a histor ically mythoi and from this latter perspective each word is given a one-word-definition; whereas, when the Hebraic texts is read letter by letter each letter has a mythoi of its own with a host of definitions. Each letter can borrow from its co-letters in the Archetypal, Existential or Cosmic, which gives each Hebraic letter a host of different meanings, which will align with the dynamics of the entire word and/or verse. Academia sees these Hebraic words in the Hebrew texts as incomplete words; hence, in their mind’s eye the Old Testament texts are totally chaotic.

TRANSUBSTANTIATION THE NORTH ROSE WINDOW MYSTICALLY

TRANSFORMS TO THE SOUTH ROSE WINDOW

he Nor th Side of Chartres Cathedral is considered DARKNESS; for the reason that, there is far more sunlight on the South Side. The Nor th Side of Char tres Cathedral is the beginning of the entire mystical paradigm: i.e. BERESHITH. The WORD OF

GOD is silent; thus, the spir itual forces of creation: Unknown God is symbolically and ar tistically symbolized as spir itually invading the human psyche: “ I t is like leaven, which a woman took and hid in three measures of meal, till the whole was leavened (Luke 13:21)” . The reason that the woman is given the credit by Chr ist in the parable is; because, the woman symbolizes the psyche’s unconscious mind and ego-consciousness does not actually exist.

Ego-consciousness (male) is bir thed by the unconscious mind (woman) nanosecond by nanosecond; thus, it can be truthfully stated that ego-consciousness is bir thed and dies every nanosecond, which is symbolic to the sun r ising and setting daily. Realistically the time/space continuum does not exist and it is only because it conceptually exist in the phantasmagor ia of the psyche that the three dimensional reality exist at all. I f it was not for

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the three dimensional reality there would be no way of conceptualizing the dynamics of the psyche.

The gener ic gestation per iod of a child in the mother ’s womb syncs with the numerics (nine months) of the bir th of the Hebraic Coder . I will speak about that in a few vignettes below. Yes, it is difficult to contrast the bir th of a human child with the bir th of an idea; however , mystically they are one and the same. I t is only via the bir th of an idea (symbolically the bir th of a child) that the phantasmagor ia of the psyche can be expressed firmly so that other ideas can build upon the previous foundational ideas line upon line the Eternal Temple of God. Unless an idea is vocalized or put on paper or physically acted out it cannot be expressed: each of these is symbolic of the bir th of a child. Everything expressed in the outer mater ialistic wor ld is an expression of what is going on in the psyche; because, the individual is living within his psyche.

A man having a relationship with a woman is a beautiful thing; however , to have a child smashes that relationship all to pieces because it changes the whole psychic existence of that couple now that new lifetime responsibilities have been imposed upon them. I understand that there are instinctual psychic cravings that men and women, that do not have children, excruciating endure psychically for a per iod wanting to have children; however , br inging children into the wor ld is totally against the laws of spir ituality; though, that may be argue against incessantly by mater ialists. For example if I had children I would not have been able to spend a lifetime researching the WORD OF GOD. Doing things in the outer wor ld that seem to be common sense: reasonable and logical is actually eating from the TREE OF THE KNOWLEDGE OF GOOD AND EVIL: in other words societal mores is psychically forcing its constituents to dr ink the cool aid: i.e. status quo. The spir itual forces of creation: Unknown God that radiates eternally into the soul; thus, is symbolized as the Chr ist Child; because, the Virgin Mary was unknowingly spir itually and psychically ready to conceived the Chr ist Child, which is something she could not have imagine before it happened to her . The Nor th Rose Window illustrates via the lancets below it the mythoi of what transpires with the addictions and obsessions an individual has when receiving the Initiatic Visionary Exper ience from the Unknown God. These lancets illustrate what happened to individuals in Jewish history; however , on an individual level addictions and obsession fade instantaneously from the psyche. This is illustrated in the cycle of K ings: each king holding a Fleur de lis and the cycle of Prophets: each half circle on the r im of the Nor th Rose Window is covered with Fleur de lis similar to how the Virgin Mary and the Chr ist Child are sur rounded by Fleur de lis; as a result, it can be envisaged how the spir ituality of the Virgin Mary and the Chr ist child radiates out to the end of the North Rose Window. The spir ituality of the Nor th Rose Window is transubstantiated, radiates out mystically to, the South Rose Window that depicts the New Testament. I t goes from the old addiction and obsessive life of the individual to the new spir itually disciplined life and this is depicted by the Chr ist being an adult who’s light is radiated out to the end of the South Rose Window and beyond transmogr ifying (transubstantiating) the Kings and Prophets into the twenty-four elders. Catholicism tells it laity that every member is Chr ist.

“ For all of you who were baptized into Christ have clothed yourselves with Christ. There is neither Jew nor Greek, there is neither bond nor free, there is neither male nor female: for ye are all one in Christ Jesus. And if you belong to Christ, then you are Abraham’s seed and heirs according to the promise (Galatians 3:27-29).”

This is emphasized in the lancets below the South Rose Window: the four gospel wr iters sit on the shoulders of Old Testament giants; also, beneath the lancets are individuals garmented in the cloths of Chr ist: MATRIX OF WISDOM, which

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was transubstantiated from the Fleur de lis. The transubstantiation process continues on to the east-west-cor r idor-of-time continuously never-endingly. That will be discussed in a few minutes. Actually, nothing conceptually can supersede the dynamics of what the twenty-four elders represent. All that the east-west-cor r idor -of-time can do is to recapitulate what the North and South Rose Windows have already express. The transubstantiation process mythologically is very much like dropping a pebble into a pond of water and watching the r ipples expand out into larger and larger circles.

THE TRINITARIAN PARADIGM

Epitomizing the entire Creation Process

he Tr initar ian Paradigm: Tr inity was first introduced in the Nor th Rose Window via the Virgin and Child in the center of the window. The Fleur de lis is in the shape of an I r ish Three-Leaf-Clover , which symbolizes the Tr inity; thus, I interpret the

spir itual forces of creation: Unknown God transforming into the Fleur de lis: the Tr initar ian Paradigm: Tr inity: i.e. spir itual ego (Father), spir itual unconscious mind (Holy Spir it) and Chr ist (Son: “ I and my father are one” ). There can be no doubt that Chr ist symbolizes the Fleur de lis; because, the Virgin Mary is holding the Chr ist Child in her left hand and the Fleur de lis in the r ight hand. This I interpret to mean that the Fleur de lis transubstantiates into the Chr ist Child: i.e. the kernel of a spir itual idea that needs to be nur tured and raised to matur ity like a child is raised to adulthood. The circle that the Virgin Mary and Chr ist Child are in is sur rounded by twelve Fleur de lis, which radiated out from the center; thus, giving each of the K ings a fleur de lis and each of the prophets’ half-circles, on the r im of the North Rose Window, imply six Fleur de lis. I t is obvious that the Chr ist is the Fleur de lis; for the reason that, he Euchar istically transubstantiated over to the South Rose Window in a mature state. The first circle radiated out from the circle encapsulating the Virgin Mary and Child is the twelve angels, which are literally patterned symbolically as the Fleur de lis. Look at how the angels are set up in unanimity as a mini version of the entire Eternal Temple of God.

The first four symbols are Doves coming down from the Nor th symbolizing the Holy Spir it (Cosmic). The second set of four angels (censing angels and angels holding candles) are symbolized as going from east to west and the last set of four angels are the Seraphim located in the south, which I interpret as the Burning Bush.

The cycle of doves and angels illustrating a mini-version of the entire Tr initar ian Paradigm, which is already precedence in the first word of Genesis: BERESHIH extrapolated out from six letters to ten letters formulating what I call the Genesis Formula. Putting the Genesis Formula into a circle revealing mini-images (sacred geometry) of larger images, which are structured esoter ically into the first chapter of Genesis, goes to explaining how creation came about as it did. These mini-images discovered in the Genesis Formula are the Kabbalistic Tree of L ife, the Star of David and the Crown of Creation. I only mentioned them to augment my statements about the mini-images. I will not discuss these images again in this paper ; because, they are not relevant to this paper ’s thesis.

T

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I t can; therefore, be envisage that the doves and the other eight angels are a prologue to the whole of Chartres Cathedral. I t may be though that the Virgin Mary and the Chr ist Child are the prologue to Char tres Cathedral. That would be a wrong assessment of the symbolic image. God is silent and it takes the action of the initiate to formulate the missive of God in an understandable format.

On the Nor th Façade of Char tres Cathedral there is a sculpture of Mary standing on a Burning Bush. Mary symbolizes the unconscious mind receiving the kernel of a spir itual idea; thus the unconscious mind receiving the Initiatic Visionary Exper ience: Chr ist consciousness is symbolized as the Burning Bush. This is what the mythoi of Moses is conveying.

God creating Adam was mentioned above. I put these two images here to illustrate that the concepts laid out in the stone sculptures do not necessar ily have to be redisplayed again in those selfsame concrete images; because, those concepts can be abstractly conveyed in a more esoter ic manner . These stone sculptured images would not have been placed outside on the South Façade unless of course they were to be prefigured in the images in the stain glass window and/or be transubstantiated into esoter ic formats in the stain glass windows on the nor th side of the cathedral. This same theme would be applicable to the stone statues on the south and west facades of the cathedral.

TRINITARIAN PARADIGM: TRINITY

NORTH ROSE WINDOW

The twelve Fleur de lis circling the Virgin Mary and the Chr ist Child is also a vivid symbol that emanate out across the spectrum of the Nor th Rose Window. The reason for the number twelve is because it is the first number that encapsulates both the patterns of the number three (Quadruplicities) and the number four (Tr iplicities), which also infers the SEVEN LIBERAL ARTS: Tr ivium and Quadr ivium.

The twelve angels (Cosmic), twelve kings (Existential) and the twelve prophets (Archetypal) illustrate the overall theme of the Tr initar ian Paradigm: however , each group per se is broken up into its own version of the Tr initar ian Paradigm.

NORTH ROSE WINDOW: the first cycle: twelve four doves and eight angels as mentioned above breaks down into three groups:

o Four Doves: � Two doves flying in from the north and � The other two doves flying in from the nor th east and the north west

o two censing angels and two angels holding candles � Two censing angels: one east and one west

• Using a Censer is symbolic of praying: i.e. L ife is Prayer . � Two angels holding candles: one east and one west

• Candles symbolize ar tificial light to guide the initiate through life (Hermit in the Tarot Cards): i.e. the initiate reading the bible without the Holy Spir it guiding him or her .

o four Seraphim: � The two center Seraphim have blue halos � The two flanking Seraphim have red halos

The four doves in the Nor th are transubstantiating into the four Seraphim angels in the South. One of the most intr iguing features about the four seraphim angels is that they all are balancing on a six-spoke wheel: i.e. Merkabah. These four Seraphim angels are split into two groups, which seem to mirror image the four doves in their two groups.

I do not believe that this kind of detail was accidently placed into these stain glass windows unless they had a distinctive symbolic purpose.

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The Seraphim then transubstantiate to the east-west-corr idor -of-time: censing angels and angels hold candles and this symbolizes the initiate partaking of the Euchar istic Host.

That is why this first cycle epitomizes the spir itual purpose of the entire Char tres Cathedral. The Tr initar ian Paradigm: Tr inity has to be understood as having taken place instantaneous from the moment that the Initiatic Visionary Exper ience takes place in the psyche of the initiate’s unconscious mind. The sacred space human call the cathedral is not dominated by the time/space continuum. The cathedral or any sacred space symbolizes timelessness: that is why all spir ituality takes place in a nanosecond.

NORTH ROSE WINDOW: the second cycle: twelve Kings break down into o Four kings holding the Fleur de lis in their r ight hands and o Eight kings holding the Fleur de lis in their left hands.

This is again the Tr initar ian Paradigm: Tr inity being expressed similar to how the first two verses of Genesis is structured: seven words in the first verse and four teen words in the second verses. Also notice how all the kings are surrounded by slanted version of a square. The square symbolizes the four corners of the ear th; however , with one corner sliced off pointing to a particular prophet there is the inference it is a slanted perspective towards that one prophet’s idiosyncrasies.

NORTH ROSE WINDOW: the third cycle: twelve prophets break down into o Five prophets facing east o Seven prophets facing west

The five to seven split is a symbol of the calendar year , which imposes, symbolically, the Star of David on the zodiacal calendar. The four months with 30-days format a butter fly pattern, which is copied by the other eight month, which produces the Star of David dead center to the zodiacal calendar .

The Nor th Rose Window symbolizes the Old Testament; in contrast, the South Rose Window that symbolizes the New Testament.

The Nor th Rose Window Tr initar ian Paradigm is then transubstantiated over to the South Rose Window. Chr ist in the center of the South Rose Window

TRINITARIAN PARADIGM: TRINITY

SOUTH ROSE WINDOW

The South Rose Window begin with the adult Chr ist (fully understood) in the center holding a Euchar istic Chalice, which hails back to Melchisedek in the first lancet beneath the North Rose Window holding a Euchar istic Chalice in the left hand and the censer in the r ight hand. To receive the Euchar ist in Catholicism one has to be initiated into three sacraments: Baptism, Reconciliation (Penance) and Confirmation.

Chr ist’s halo has the cross embedded in it; plus, surrounding the circle Chr ist is encapsulated in is twelve additional crosses. This introduction of the CROSS is; for the reason that, the Nor th Rose Window transubstantiated over (not through) the east-west-cor r idor -of-time comparable to a br idge mythologically analogous to Emperor Constantine battling Emperor Maxentius on the Milvian Br idge (the two mythologies are precisely the same mythoi expressing the same spir itual concept): i.e. creating the transept with the CROSSING between the Nave and Apse: symbolically creating the CROSS. I t is the symbol of the CROSS embossed via sacred geometry: i.e. numerics of Astrology’s Quadruplicities (3, 6 and 9) into the MATRIX OF WISDOM: see the circle of twelve quatrefoils between the two sets of elders in the South Rose Window that symbolizes the MATRIX OF WISDOM. The CROSSING is symbolic of the Vesica Piscis. The patterns of the CROSS and the cathedral are shaped in

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the design of the Kamea of Saturn, which only the odd numbers are used to develop the CROSS and cathedral. From this it can be envisaged that the SIGN OF THE CROSS would begin in the Nor th (forehead) to South (chest) to East to West (from this perspective from r ight to left shoulders). This CROSSING: i.e. Vesica Piscis is extremely important to understand and I ’ ll return to it as I go along.

Again to be repetitive the whole of the Tr initar ian Paradigm: Tr inity takes place in a nanosecond and this is well established and laid out in the first word of Genesis when the letter /word RESH ר crosses BETH ּב creating the word BERESHITH ּבראשית. The Hebraic letter /word RESH ר means HEAD, which is the pr imary reason why the cathedral is shaped in the form of a skull (Golgotha: i.e. place of the skull) symbolizing the cerebral lobes and placing the Seat of the Merkabah r ight where the Pineal Gland is located in the brain. The CROSSING is in the center of the transept, which is positioned between the APSE and the NAVE. This is precisely where the mythoi of Chr ist’s crucifixion have his head. This area is actually called the CROSSING. In Washington DC’s Capitol Mall the obelisk: i.e. Washington Monument symbolizing the Cygnus X-3 (Nor thern Cross – Cygnus Swan) cosmic rays is located r ight on the edge of the CROSSING. The reason for this is because Cygnus X-3 points to the galactic core.

The crucifixion is a celebration of the initiate (mystic) being spir itually initiated; however , this initiation process takes place nanosecond by nanosecond and this is why the wor ld appears to be a perpetual motion machine. Without the continuous ever lasting gyration of the tetrahedral forces of creation Merkabah: two wheels taking place in the psyche the phantasmagor ia of the wor ld would cease to exist instantaneously; for the reason that, Chr ist would not appear to be sitting on the seat of the Merkabah (Vesica Piscis). The fact that Chr ist seems to be sitting eternally on the Seat of the Merkabah is because he comes into creation only to immediately be crucified again and again…; however , nanosecond by nanosecond makes him appear to be sitting uninterrupted on the seat of the Merkabah (Vesica Piscis). Different images of Chr ist (actually anybody) are merely nanoseconds of time. In a movie the film need the bare minimum of twenty-four images or more per second to look like natural motion in the outer wor ld; thus, seeing Chr ist on the Cross or ascending into heaven these are merely images out of sequence to their cyclic mode.

Chr ist dying and suffer ing on the CROSS is analogous to the spir itual forces of creation: Unknown God ‘appear ing’ to amalgamate the spir itual with the mater ial creating Chr ist consciousness. Chr ist crucified and placed between two thieves: one evil and one good is analogous to most of the societal mores not wanting any part of his teachings. The repentant thief is how Chr ist will commence his ‘second coming’ . Every return of Chr ist is considered a second coming. Chr ist’s family and fr iends burying him and witnessed his ascension from the dead, which is the repetitive cycle in motion. Notice that it was Mary Madeline, a woman: i.e. unconscious mind an alleged sinner (probably so, like the good thief on the cross) witnessing Chr ist r ising from the dead; because, she is a repentant sinner and it is only through her reporting to the male: ego-consciousness that the disciples learned of it. The masculine gender from ego-consciousness perspective does not have the mental acuity of envisaging spir ituality; for the reason that, it needs the unconscious mind (feminine - spir itualized): Holy Spir it to guide it and that is of course if ego-consciousness: i.e. hubr is deflates itself. The rest of the wor ld did not see Chr ist r ise from the dead; because, he was bur ied and only initiates that know the deep secrets of esoter icism and are guided by the Holy Spir it can envisage Chr ist r ising from the dead.

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SOUTH ROSE WINDOW: the first cycle: four gospel wr iters symbols: L ion, Bull, Angel and Eagle sur rounded by eight censing angel.

o The four gospel wr iters’ symbols: L ion, Bull, Angel and Eagle are in the position of the fixed signs of the Zodiac; however , they are not in their or iginal order in the zodiacal circle; nonetheless, they are inferr ing that this cycle represents the whole of zodiacal cycle on a spir itual level.

� Chr ist’s introduction to of the CROSS, in the center of the South Rose Window, is precisely why the symbols of the gospel wr iters are out of place in the zodiacal cycle. I will return these four beasts when I talk about the West Rose Window and the Royal Portal outside the cathedral.

o Eight censing angels hail back to Melchisedek: censing symbolizes prayer . L IFE IS PRAYER. I , personally, understand prayer as living life according to the laws of God not, psychically repeating the same bookish prayers: vain repetition. To me that is meaningless nonsense other than the proper way to psychically meditate on the Rosary according to the mythoi of the four sets of New Testament myster ies16.

Again the pattern of twelve crosses in the South Rose Winding sur rounding Chr ist like the pattern of twelve radiating out from the central circle of twelve Fleur d lis across the Nor th Rose Window transubstantiating over to the South Rose Window. What has to be understood and conceptualized is that the Fleur de lis symbolizing the spir itual forces of creation: Unknown God eternally radiating into the soul creates the Tr initar ian Paradigm: Chr ist, which is symbolic of the MATRIX OF WISDOM: Eternal Temple of God; however , hubr is’ ar rogance shuns out Chr ist consciousness; thus, the MATRIX OF WISDOM: Two-Part Psyche reigns supreme; though, Chr ist is eternally present he will not return to that soul until ego-consciousness has genuflected (deflated itself where it recognizes that Chr ist reigns supreme).

On a symbolic level the moment that Chr ist is seen in any symbolic format he symbolizes the MATRIX OF WISDOM via Astrology’s STAR OF DAVID as illustrated in the above image of the Zodiac sur rounded by the cerebral lobes. The whole of Char tres Cathedral is based upon that Zodiacal skull’ s cerebral lobes’ images. The STAR OF DAVID is not in Char tres Cathedral per se; however , this same mystery concerning the STAR OF DAVID will be discussed in PART THREE of this ser ies where it is not physically visible in the Sistine Chapel; yet, it esoter ically dominates the whole of the ceiling’s fresco.

SOUTH ROSE WINDOW second cycle and third windows: twenty-four prophets. The two cycles of prophets are holding fial of perfume, which symbolizes the censing angels in the first cycles. The twenty-four elders holding fial of perfume can very well symbolize the fact that Melchisedek was a High Pr iest and King: elder pr ior to the creation of the South Rose Window. I point this out because all Catholics are Pr iests after the Order of Melchisedek.

o King David in the second lancet between the North Rose Window is holding a harp, which of course is transubstantiated over to the South Rose Window

� Five of the prophets in the second circle and three of the prophets in the third circle are holding harps on the east side of the second and third cycles. That is one-third of the prophets holding harps, which implies the spir itual Cosmic aspects of the Tr initar ian Paradigm: Tr inity.

16 “ A standard fifteen Myster ies of the Rosary, based on the long-standing custom, was established by Pope Pius V in the 16th century, grouping the myster ies in three sets: the Joyful Myster ies, the Sor rowful Myster ies, and the Glor ious Myster ies. In 2002 Pope John Paul I I said that it is fitting that a new set of five be added, called the Luminous Myster ies, br inging the total number of myster ies to twenty (Wikipedia)” . http://www.theholyrosary.org/index

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� The other two-thirds of the prophets are holding guitars, which of course again points to the Tr initar ian Paradigm: Tr inity and the construct of the wording of the first two verses of Genesis. These two-thirds of Prophets symbolize the Archetypal and the Existential.

� The eight harps coming from the east implies spir ituality coming down the east-west-cor r idor -of-time via cymatics17; whereas, the harps symbolizes the gifted ar tistically expressing those spir itual cymatics (guidance of the Holy Spir it) into symbolism and ar tworks of the wor ld.

I discussed above a good deal about the North and South windows; thus, I will not discuss them anymore in detail other than to reference them on my discussion of the West Rose Window.

TRINITARIAN PARADIGM: TRINITY

WEST ROSE WINDOW

Chr ist is sitting in the center of the Kamea of Saturn (3 x 3 square), which symbolic of the Vesica Piscis. This entire West Rose Window is essentially a repetitive depiction of the CROSSING in the center of the transept. Chr ist is neither the North Rose Window nor the South Rose Window; though, it is a spir itual amalgamation of both; but, Chr ist is neither one nor the other . The Nor th Rose Window symbolizes the female (unconscious mind) and the South Rose Window symbolizes the male (ego-consciousness). The east-west-cor r idor -of-time symbolized waste dump of life; for the reason that, it symbolizes the nanosecond of bliss, which humans call life. What the North Rose Window and South Rose Window produce out of the gyration of their Merkabah wheels begins to manifest out of the spir itual sun that goes down the east-west-cor r idor -of-time. This spir itual sun is released from the Merkabah wheels, which they pulled out of the tetrahedral forces of creation, which is essentially that which the initiate’s psyche is enamored by. And this is precisely why addictions and obsessions control the life of the psyche of every individual that has ever lived, is living and will ever live. The only thing that can change the psyche being enamored to those addictions and obsessions is intercession from the spir itual forces of creation and that only takes place when ego-consciousness’ hubr is genuflect: i.e. deflates itself.

Chr ist is in the central par t of the West Rose Window, which is also in the shape of a quatrefoil, which is neither a Fleur de lis nor is it the MATRIX OF WISDOM: Two-Part Psyche; because, it is obvious, at least to me, that Chr ist is sitting in the center of the MATRIX OF WISDOM: Eternal Temple of God; for the reason that, Char tres Cathedral had been transformed into the Eternal Temple of God.

o The twelve quatrefoils in the West Rose Window are positioned beyond the three circles that radiate out from Chr ist indicating that there are neither limitations nor any restr ictions to living spir itually in the Garden of Eden.

The Seven Chevets at the east end of Char tres Cathedral begins the psyche being enamored by what has attracted its attention via the tetrahedral forces of the psyche via the Merkabah wheels. Now this does necessary mean that institutional religious teaching is what is going to enamor the psyche. The initiate can be a carpenter , architect, politician, doctor , nurse, computer programmer, pr iest, nun, monk or whatever profession that enamors his or her psyche and he or she can incorporate those mystical psychic teachings into his or her profession that represent the dynamics of the psyche. The religious teachings of the Judaeo Chr istian Scr iptures are merely a gener ic prototype of teachings every single human being should be educated about his or her psyche.

17

Cymatics https://en.wikipedia.org/wiki/Cymatics

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o The Seven Chevets chapels are a major part of what has been artistically placed upon the east-west-cor r idor -of-time, which is depicted upon the West Façade stain glass windows and the sculptures on the Royal Portal.

� The Seven Chevets begins the entire creation process down the east-west-cor r idor-of-time. I t is a

• This is probably the major reason that there are Seven Sacraments and

• Seven Major Planets and a • Seven Day Week • And why the Hebraic Alphabet18 is developed upon this Fleur de

lis pr inciple laid out in the first twenty-three words of the first chapter of Genesis.

o In fact there are nine chapels in Char tres Cathedral and the adding of two additional chapels may have a relationship to the development of the final five letters.

� There are Seven Doves that hover around the Virgin Mary and Chr ist Child on the top area of the Tree of Jesse stain glass window.

� There are Seven L iberal Ar ts sculptured above the nor th tr iptych door of the Royal Por tal.

� There are Seven L ight Chakras running up from the central door of the tr iptych to the top of the seven separate features of the central part of the Royal Portal, which infers that Chr ist is the Kundalini Serpent.

• The Kundalini is a direct response to the first four days of creation and the serpent r ising up the mini-version of the Seven Day Week symbolizing the Seven Light Chakras.

• These Seven L ight Chakras is apparently a direct cor respondence to the first four chapters of creation.

THE VESICA PISCIS: is the seat of the Merkabah, which is the Crossing in the transept; however , on the West Rose Window lancets are found two Vesica Piscis.

o The central lancet at the top is the Virgin Mary and Chr ist Child surrounded by the Vesica Piscis.

o The lancet on the south side beneath the West Rose Window has Chr ist sur rounded by the Vesica Piscis in the Transfiguration scene.

o On the front of the Royal Portal is Chr ist above the central door in the middle of a Vesica Piscis.

When nuances like this are revealed it is obvious that the symbolism is saying that Chr ist is wholly complete from the inception of Chr ist consciousness: i.e. Virgin Mary and Chr ist Child. This was actually demonstrated with the development of the Crossing pr ior to the South Rose Window being constructed. The nanosecond of time is stretched out to the wholly of Chartres Cathedral to explain the whole of the myster ies of the sacred scr ipture; nonetheless it is still a nanosecond of time that has to be eternally repetitively repeated throughout life in the mater ial wor ld.

The Four Beasts symbolizing the New Testament gospel wr iters: Matthew (Angel), Mark (L ion), Luke (Bull) and John (eagle).

o A very cur ious design is set in the first circle radiating out from Chr ist sitting in the center of the South Rose Window. This design prefigured the four beasts: four gospel wr iters in the fixed signs of the Zodiac of angels.

18

The Origin of the Ancient Hebrew Alphabet: https://www.slideshare.net/williamjohnmeegan/the-or igin-of-the-hebraic-alphabet I highly recommend that the read view this paper and see how Hebrew Alphabet was or iginally conceived.

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o I say that it is a cur ious design; for the reason that it is the same design patterned into the four beast that flank Chr ist sitting on the throne in the Vesica Piscis in the stone sculpture on the outside of the West Façade above the center of the tr iptych;

o Whereas, the design of the four beast in the new structured coffin like features in the first circle radiating out from Chr ist in West Rose Window restructures the positions of the four beast to the directions they are looking.

� In the stone sculptures above the central door of the tr iptych the position of the four beasts in the fix signs of the Zodiac is an X-Cross.

• Angel is looking south • Eagle is looking north • Bull is looking west • Lion is looking east

� In the West Rose Window the position of the four beast is in a vertical Cross.

• Angel is positioned in the south • Eagle is positioned in the nor th • Bull is positioned in the west • Lion is positioned in the east

� The new structured coffin like features seems to amalgamate the Cosmic into the Existential aspects of life and the fur ther circle from Chr ist would symbolize the Archetypal.

• The first two circles from Chr ist appear to be declar ing that the Cosmic and Existential is Chr ist consciousness and the initiate is not bound by traditions and dogma.

� The third circle radiating out from Chr ist sitting in the center of the Kamea of Saturn is formatted with eight circles sur rounding the central image.

• Chr ist is sitting in the seat of the Merkabah in the Eternal Temple of God;

• Whereas, the third circle is suggesting that it is in the MATRIX OF WISDOM: Two-Part Psyche and this is why it is called the Last Judgment.

o The eight circles surround the third circle’s images suggest the time/space continuum.

o Whereas, the first and second circles from Chr ist suggest living in timelessness, which astrology infers.

The lancets beneath the West Rose Window are in sequential order from r ight to left: Tree of Jesse, L ife of Chr ist and Passion symbolizing the mythoi of Chr ist in chronological and a histor ical order coming down the east-west-cor r idor-of-time.

The West Rose Window would have to be diametr ically opposite to the Nor th and South Rose Windows. The Nor th and South Rose Windows apparently are exuding the concept of explaining spir ituality via iconography; whereas, the east-west-cor r idor -of-time is explaining the symbolism of spir ituality via iconoclasm.

Iconography in the Nor th and South Rose Windows is conveying symbolic imagery in piecemeal image by image; whereas, iconoclasm (non-symbolic vernacular) is the par lance of the east-west-corr idor -of-time and takes that nanosecond of timelessness outlined in the Nor th and South Rose Windows and stretches it out over a ser ies of mythological vignettes (each mythoi: vignette saying the same thing) and transforms it into iconoclasm that spans a thir ty-three year per iod.

CHARTRES CATHEDRAL There is really not much more to say here other than the confusion that exists on the

sculptures above the nor th and south tr iptych doors (see image on page #8 above).The Nor th and South Towers are actually in the wrong positions. The Moon Tower

belongs on the Nor th Side and the Sun Tower beloreverse positions.

The reason for this is obvious, at least to me; for the reason that, hubr is: egoconsciousness tr ies to force the existence of the Eternal Temple of God (see image on page #11 above) where west goes east and east goes west; however , it doesSpir ituality symbolically comes in from the North creating the Eternal Templ

Astrology cannot be in the Sun Tower or the Seven L iberal Arts in the Moon Towerbecause, that is a confusion of symbolismpsyche. The Seven Liberal Ar ts was the main courses taught in the Chartres Cathedral Mystery School; because, the integration of these seven disciplines as one unified science is how the sacred scr iptures are wr itten via iconography and iconoclasm simultaneously.iconography cannot be visually seen in the sacred scr iptures; because, it is conveyed in symbolism and numer ics: Quadr ivium and the histor ical chronological account is wr itten via iconoclasm: Tr ivium.

Beneath the three archivolts images above the tr ipFaçade are capital images that show a chronological histor ical mythological account of the L ife of Mary and the Life of Chr ist.

‘The capitals above the door jamb statues provide a continuous narrative across all threedoorways in what amounts to a frieze of nearly 200 small figures. This frieze across the west portal is very unusual for the period and is interesting in that it is read from the centralthe left with the life of the Virgin and then from the central Christ to complete the story. The expectation of the sculptor, perhaps, was thatwould complete their initial reading of the tympana in the centre with theand then their eyes would come

In conclusion I will not discuss the other stain glass windows in Char tres Cathedral; because, I see each of them as a separate transept (Crossing); though, that may sound inane; however , when you realize that spircreating the Eternal Temple of God there is no other way of explaining those other windows.

Each saint is a new version of Chr ist seeing that every member of the laity is Chr ist; thus, each stain glass window

Those that study the Capitol Mall in Washington DC will see that there are twentynumerical streets crossing the mall. The twentythe center of the L incoln Memor ial. The implication is that it is the Emancipation of Freedom; because, the first twentyFleur de lis, which creates the twenty

19 Char tres Cathedral Por tal Sculptures, by Tony Toole,

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CHARTRES CATHEDRAL - ROYAL PORTAL

There is really not much more to say here other than the confusion that exists on the sculptures above the nor th and south tr iptych doors (see image on page #8 above).

South Towers are actually in the wrong positions. The Moon Tower belongs on the Nor th Side and the Sun Tower belongs on the South Side. Both towers

The reason for this is obvious, at least to me; for the reason that, hubr is: egoconsciousness tr ies to force the existence of the Eternal Temple of God (see image on page

where west goes east and east goes west; however , it does not work that way. comes in from the North creating the Eternal Temple of God.in the Sun Tower or the Seven L iberal Arts in the Moon Tower

because, that is a confusion of symbolism. These are discipline in opposite locations of the The Seven Liberal Ar ts was the main courses taught in the Chartres Cathedral

Mystery School; because, the integration of these seven disciplines as one unified science is how the sacred scr iptures are wr itten via iconography and iconoclasm simultaneously.iconography cannot be visually seen in the sacred scr iptures; because, it is conveyed in symbolism and numer ics: Quadr ivium and the histor ical chronological account is wr itten

the three archivolts images above the tr iptych on Char tres Cathedral West hat show a chronological histor ical mythological account of the

ife of Mary and the Life of Chr ist.

The capitals above the door jamb statues provide a continuous narrative across all threein what amounts to a frieze of nearly 200 small figures. This frieze across the west

is very unusual for the period and is interesting in that it is read from the central portal to the left with the life of the Virgin and then from the central portal to the right with the life of Christ to complete the story. The expectation of the sculptor, perhaps, was that the observer would complete their initial reading of the tympana in the centre with the most powerful image and then their eyes would come down to the next level for the story.’ 19

In conclusion I will not discuss the other stain glass windows in Char tres Cathedral; because, I see each of them as a separate transept (Crossing); though, that may sound inane; however , when you realize that spir ituality comes from the North (page #11 above) creating the Eternal Temple of God there is no other way of explaining those other

Each saint is a new version of Chr ist seeing that every member of the laity is Chr ist; thus, each stain glass window por tal would symbolize the beginning of a new Rose Window.

Those that study the Capitol Mall in Washington DC will see that there are twentynumerical streets crossing the mall. The twenty-third numerical street comes down through

coln Memor ial. The implication is that it is the Emancipation of Freedom; because, the first twenty-three words of Genesis provides the storyline of the Fleur de lis, which creates the twenty-two letters of the Hebraic Coder .

Char tres Cathedral Por tal Sculptures, by Tony Toole, https://www.academia.edu/4849643/Char tres_Cathedral_por tal_sculptures

ROYAL PORTAL There is really not much more to say here other than the confusion that exists on the

sculptures above the nor th and south tr iptych doors (see image on page #8 above). South Towers are actually in the wrong positions. The Moon Tower

ngs on the South Side. Both towers are in

The reason for this is obvious, at least to me; for the reason that, hubr is: ego-consciousness tr ies to force the existence of the Eternal Temple of God (see image on page

work that way. e of God.

in the Sun Tower or the Seven L iberal Arts in the Moon Tower ; . These are discipline in opposite locations of the

The Seven Liberal Ar ts was the main courses taught in the Chartres Cathedral Mystery School; because, the integration of these seven disciplines as one unified science is how the sacred scr iptures are wr itten via iconography and iconoclasm simultaneously. The iconography cannot be visually seen in the sacred scr iptures; because, it is conveyed in symbolism and numer ics: Quadr ivium and the histor ical chronological account is wr itten

on Char tres Cathedral West hat show a chronological histor ical mythological account of the

The capitals above the door jamb statues provide a continuous narrative across all three in what amounts to a frieze of nearly 200 small figures. This frieze across the west

portal to the life of

the observer most powerful image

In conclusion I will not discuss the other stain glass windows in Char tres Cathedral; because, I see each of them as a separate transept (Crossing); though, that may sound

ituality comes from the North (page #11 above) creating the Eternal Temple of God there is no other way of explaining those other

Each saint is a new version of Chr ist seeing that every member of the laity is Chr ist; por tal would symbolize the beginning of a new Rose Window.

Those that study the Capitol Mall in Washington DC will see that there are twenty-two third numerical street comes down through

coln Memor ial. The implication is that it is the Emancipation of three words of Genesis provides the storyline of the

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