See also blogs 'Stagger Lee' http://mymumsaysgosh.blogspot.com/ and 'into the white' http://meanderingome.blogspot.com

Introduction

The purpose of this document is to present a phenomenon known as landscape zodiacs. Two of which are situated in the Burgundy region of France. I will also illustrate how they form part of a geometric earth pattern which is an expression of the divine source.

Contents

Creation

2 :1

phi as Consciousness

phi in the Material

The Organisation of phi

The Sacred Geometry of Auxerre

The Cult of « Notre Dame »

The Auxerre Landscape Zodiac

The Precession of the Equinoxes

The Vézelay Landscape Zodiac

phi and France

The French Zodiac

From the Hexagon to the Pentagon

The Positional Importance of Chartres

The Blue-print of Western Europe

One Face of the Earth Dodecahedron

The Etheric Size of the Earth

Atlantis Revealed

phi is the Modern Unit of Measurement

The Earth and the Moon

The Seven in the Twelve

Discovering Landscape Zodiacs

Manipulating the Divine

The Awareness of Unity

The Burgundy region of France is the area to the south-east of Paris that includes the towns of Auxerre, Nevers, Dijon, and Vezelay. Just outside of Burgundy is Troyes and the abbey of Clairvaux in the Champagne region.

The significance of Burgundy is that it was here that the Order of the knights Templar was founded by Hugh de Payns, an officer of the House of Champagne, following his return from the first crusade to the Holy Land in 1099 AD. The knights that left for the Holy Land carried with them instructions from the pope Urbain 2^nd to bring back a knowledge that was known to be contained within the Temple of Solomon. Following their return, the sacred Hebrew documents that they brought back with them were studied at the abbey of Citeaux, and soon afterwards, the abbey of Clairvaux, or the ‘daughter’ of Citeaux was founded by twelve monks.

The Burgundy landscape zodiacs are a physical reproduction of all twelve signs of the zodiac on the landscape. Their shapes are formed by the natural contours of the hills, valleys, rivers, woods, track-ways and even modern day roads. Twelve monks founded the abbey at Clairvaux and there are twelve signs of the zodiac reproduced on the landscape. This is not just coincidence. The esoteric meaning of the number twelve is one of the secrets revealed in the sacred Hebrew texts that were recovered in the Holy Land. But the number twelve is in itself a product of a more primal code, the significance of which could reveal the origins of the landscape zodiacs. So we need to start at the very beginning; the biblical moment of Creation.

Creation

« In the beginning, GOD created heaven and earth... »

Before the moment of Creation there was a state of perfection, nothing else.

Then came the moment when the state of perfection divided itself into different, but equally perfect parts.

The opening words of the book of Genesis explain the moment of Creation « In the beginning, GOD created Heaven and Earth ... »They tell us symbolically that the decision to divide itself was made by an intelligence, GOD the « Creator », the perfection found within all of creation.

This is how GOD created the relative universe .

The problem with our translation of the opening words of Genesis is that it implies that God created something outside of himself. It would be more appropriate to say ‘GOD transformed Himself into Heaven and Earth’ thus becoming the substance of these two relative elements while remaining the absolute divine element which contained them.

GOD the One became Heaven and Earth, otherwise expressed as the divine proportion 1:2, or 2:1.

2:1

The creation of the relative elements was illustrated by the Greek philosopher Plato by two triangles; the isosceles triangle of base equal to the height and the half equilateral triangle. One of Plato’s triangles becomes the square (fig 1), the other is in the proportion of 2:1 and becomes the seal of Solomon (fig 2). A third triangle illustrates the 2:1 in the length of its base and height (fig 3) and becomes the rectangle in the proportions of the altars in Egyptian and Greek temples, also in the Temple of Solomon. The importance is therefore the 2:1 proportion.

From the « New English Bible » second book of the chronicles 4

« (Solomon) then made an altar of bronze, twenty cubits long, twenty cubits broad, and ten cubits high. »

phi as Consciousness

Plato’s triangles not only incorporate the 2:1, or the symbolic Heaven and Earth from the One, but also the unmeasurable or absolute element in which they are contained, (see fig 3) whereby b + 1 / 2 = the mathematically unmeasurable value of 1,618 …etc

which is known mathematically as the limit of the Fibonnacci series, or the « Golden Mean », so called because of its unique mathematical properties :

1,618 / 0,618 = 1 + 1,618 = 1,618 x 1,618 = 2,618

1,618 has been assigned the Greek letter « phi »

phi is therefore a geometric expression of the absolute or divine element and is the basic building block of anything which is considered sacred. But phi only becomes sacred when it follows a particular pattern, which is revealed by investigating the form and proportion of sacred architecture and the sacred numerology contained within the bible. The pattern was one of the great revelations of the sacred Hebrew texts that were recovered in the Holy Land. However, creation is not purely mathematic. The creative tool of the divine is our consciousness. It is the degree of harmony between our consciousness and the divine pattern that becomes our Heaven and Earth. In order to create a divinely balanced society on earth, we need to first of all be aware of the divine pattern. Geometrically it begins with a circle developed from a fourth triangle (fig 4), also in the proportions of 2:1. The diameter of the circle is 2 / phi.

The « Revelation of John » :

1.v8 I am the Alpha and the Omega, says the Lord GOD, who is and who was and who is to come. The sovereign Lord of all.

1.v10 It was on the Lord’s day, and I was caught up by the spirit, and behind me I heard a loud voice, like the sound of a trumpet, which said to me, «write down what you see and send it to the seven churches : to Ephesus, Smyrna, Pergamum, Thyatira, Sardis, Philadelphia and Laodicea». I turned to see whose voice it was that spoke to me : and when I turned I saw seven standing lamps of gold, and among the lamps one like a son of man ...In his right hand he held seven stars, and out of his mouth came a sharp two-edged sword and his face shone like the sun in full strength. «Here is the secret meaning of the seven stars you saw in my right hand and of the seven lamps of gold : The seven stars are the angels of the seven churches and the seven lamps are the seven churches».

2.v12 To the angel of the church at Pergamum write : «These are the words of the One who has the sharp two-edged sword : ...»

3.v14 To the angel of the church at Laodicea write: « These are the words of the Amen, the faithful and true witness, the prime source of all GOD’s creation ...»

In the above passage, God describes himself as the One, the Lord of all. Out of his mouth came a sharp two edged sword; symbolic of the 2:1 proportion.

Following the initial division of the source, we are told of the numerical importance of the number seven; the seven angels of the seven churches in the province of Asia; seven standing lamps of gold; seven stars in his right hand. There were seven biblical days of creation.

phi in the Material

The seven-fold numerology suggested in the «Revelation of John,» can be applied to the circle of diameter 2/phi (fig 4).

The progression from ‘a’ to ‘b’ (fig 5) is seven concentric circles. By repeating the same progression four times, the final circle ‘e’ has a diameter of 2/phi x 7⁴

It is at this point that we find our first «material» point of reference, because 2/phi x 7⁴

is exactly the diameter, in metres, of the central circle of the labyrinth on the floor of Chartres cathedral (fig 6). The figures that have been used so far are developed from the proportions of the Platonic triangles and don’t have a unit of measure. But these figures correspond exactly with the Chartres labyrinth if they are considered in terms of the metre. The metre was only legally defined in 1790, but Chartres cathedral dates from the 12^th century, so it would seem that the metre was the ancient unit of measure used in sacred architecture long before its official definition. The reason being that the metre was originally based on the knowledge of the divine proportions.

The diameter of the labyrinth that was actually walked is a result of seven turns of the path, repeated four times on opposite sides of the central circle; the same seven-fold progression as the previous concentric circles.

The cathedral at Chartres is composed of a plan of geometrical tables; three having the same surface area and three the same perimeter (fig 8). The labyrinth is the round table. The other two are the square and rectangular tables, therefore in accordance with the initial progression of the Platonic triangles. The length of one side of the square table is equal to the perimeter of the labyrinth divided by four (fig 7).

The rectangular table is in the proportions of phi.

The round table or labyrinth is a product of the seven-fold numerology.

The square table represents the transition from the seven-fold numerology to the twelve.