Who is This Temple Really Dedicated To?

Dominique and I are passionate about exploring sacred sites.

We love to decode the solar sacred geometry used to build them and love to discover their healing energies. We are often surprised by what we find, and one such surprise was the Gallo-Roman Temple of Janus, located at Autun, France. 

Autun is located in the Loire valley, a famous wine region inhabited since Neolithic times.

A vast Neolithic enclosure was found near the temple and is still being studied. The Celtic tribe of the Eduéns had also settled in this area. Afterward, the Romans built their city called Augustodunum. Celtic people were wine lovers and cultivars. Some believe that the Romans conquered Gaul because of their wonderful wines!

The Temple of Janus dates back to the 2nd half of the 1st century and sits on a plateau northwest of Augustodunum. A mystery surrounds who the temple was actually dedicated to. In the 16th century, historian Pierre de Saint-Julien de Balleure thought it was dedicated to Janus. But, the name could actually be a corruption of the toponym Genetoye which means where the broom grows. 

The God Janus
Photo by Loudon Dodd, from the Vatican Museum

Who is this Roman God Janus?

He is the god of duality, doors, gates, and transitions. Because every door and passageway had two directions, Janus was depicted with two faces, keeping an eye out in the front and back. He is also the god of beginnings and endings, the gatekeeper, and he protected the start of all activities. His shrines in Rome were all located near the crossings of rivers. In his early days, he was associated with waterways and bridges. Interestingly in ancient cultures like the Hindus, the Tibetans, and the Chinese, water crossings were considered a doorway for spirits to interact with the human world, particularly demons.

The Romans were masters at syncretism, meaning they combined different local beliefs and traditions to ease the transition of Roman rule. Many times, the names of their temples were a combination of Roman and Gaul gods, like the goddess Sulis Minerva. Mercury was often associated with Lugh, the Celtic god of light. 

The Romans often build their temples over pre-existing Celtic ones or even Neolithic sites.

The temple of Janus was a fanum, a type of religious sanctuary commonly found in Roman Gaul. Originally this type of temple was Celtic and was built out of wood. The Celts called them nemetons, stemming from the word nemeto, meaning holy wood enclosure. 

Fanums had an inner sacred space called a cella. Its shape was typically square or circular. The cella housed the statue of the deity, and only priests had access to this inner sanctum. During certain ceremonies, the temple’s doors were opened so the god could gaze out to the masses. The cella was surrounded by a veranda, which served as an ambulatory where people could walk around it. Interestingly enough, I found a reference to the Celts circling around the cella, a traditional way to enhance the sacred energy inside.

The Temple of Janus

When building any sacred place, earth energies were employed to give power and energy to the holy center.

As you can see, this temple was placed over a powerful configuration of subterranean water veins. The most sacred place is the crossings of three water veins and a few faults. Notice also that all the temple openings have water veins flowing through them and are roughly the same size. The center is a healing crystalline vortex of energy.

 

In the analysis of the geometry used by the master builder, the first thing we notice is that the temple is square-shaped. More than that, it was conceived with three concentric squares using a common building technique called a triple enclosure. Triple enclosures were used in temples and churches to strengthen, refine, and protect the sacred energy at the center.

The illustration below is the solar mandala of Autun and the Temple of Janus. This unique mandala is intimately connected with the sun’s annual rhythms throughout the year. It is called a solar rectangle (solsticial quadrilateral) because each corner is connected to the solstices. It becomes a complex mandala relating to the five elements, the seven chakras, and musical notes. Another essential thing to understand about this solar rectangle is that it is unique to each latitude and changes in shape and size with latitude changes.

 

The solsticial quadrilateral was used as the beginning point to build sacred structures worldwide, and the Romans were part of this tradition.

In the Temple of Janus, the master builder employed different circles relating to the sun and a fractal of the solsticial quadrilateral to design the temple. The first solar circle is found at the intersection of the solar and lunar quadrilaterals. This circle forms the first sun square, as can be seen in the illustration. The outer wall of the cella is found by placing a square around the outside of the sun circle and the inner wall is found by placing a square inside of this sun circle. And the inner rectangle that the god would be placed upon is a solsticial quadrilateral connected to the golden mean. 

 

Everything in this temple relates to the sun, making it a very, very solar temple.

When you see this geometry, you begin to think that this temple is not dedicated to the God, Janus. The gods, Lugh, Mercury, or Apollo, were probably suited for this type of solar temple. 

Lastly, there is a feeling quality associated with the healing abilities of every sacred site. Standing in the sacred center, you can notice this temple opens and balances the heart chakra and the lungs. It is connected to the air and ether elements. This type of energy is closer to the power of the God, Mercury. He is a god of the Air Element, a healer, and being the messenger of the Gods, was able to travel from the underworld to the spiritual realms. For the Celts, this place was a good match for the God Lugh, their solar god. 

Names, Energies, and Sacred Places

Have you ever visited a cathedral and wondered why it was named for a particular saint?

During my early travels, I never did. I accepted the name, marveled at the architecture and other artwork, took photos, and then left for my next adventure. But over the years of studying the Art of the Master Builders, names of places have taken on a whole new dimension.

I work with solar geometry, which can also be called energetic geometry.

It was the first geometry used by our ancestors to build their amazing sacred places. This geometry is connected to the heavens, the sun, the moon, and the stars. It is also deeply connected to the earth and its patterns and energies. It is a geometry that is alive and life-enhancing. Because of this connection to heaven and earth, it is sacred. Even more than that, it creates a sacred space when used to build any type of structure. A place where you can connect much more quickly to the divine, to our own spirituality. It also can be used to emphasize different qualities of energies, like love.

Within the solar mandala of any particular place, the measurements of the Elements can be found.

Elements can be related to the chakra system and have a feeling quality. The ability to use measurement to create a place where a sensation can be felt with the body is simply incredible. For building a cathedral, the master builder can create a space that helps to open the heart chakra with the ether element, for example. But there is more to a sacred place than the geometry that was used to build it.

Much of our human life revolves around spirituality.

All cultures have their unique mythology and ways to deepen their spiritual connection. Most of the time, a structure is built over an extraordinary point. A place with exceptional healing qualities or a place where one could easily deepen their spiritual connection, a place kissed by the divine. A temple or cathedral built with precise measurements of solar geometry would enhance the natural energies of the healing point, making the healing energies more powerful. These enhanced energies could then radiate outwards, balancing the land and environment around, helping crops grow better, and improving the health of animals and humans who lived nearby.

In Neolithic times, these first unique places were where menhirs were erected.

Kerloas MenhirThese standing stones did many things. They balanced the land, creating harmony for crops to grow and where animals and people could live in a healthy environment. Interestingly enough, these points where the menhirs were placed had different qualities and healing energies. One menhir could be connected to the lungs and the heart. Another could have energies of fertility and birthing. Others worked on kidneys or the liver; others still opened the crown chakra and balanced the chakra system.

Over time, humans created elaborate rituals to ensure that they stay connected to the divine and be blessed with happy and healthy lives. Sacred sites were built to spiritually guide people and for miraculous healings. Pilgrimages for healing are a common theme all around the world. The Christians are famous for their pilgrimages of healing, and they continue today.

But what does this have to do with a name of a cathedral?

Given a little thought, one can conclude that the name of a cathedral conveys an underlying message. When you think of Mother Mary, what comes to mind? What are her special qualities? Love instantly comes to mind, the energy and feeling of love, grace, and healing.

What if these qualities were found at a place?

Love, healing, and grace? I believe they are. During research into the geometry and the energies of 100s of churches, cathedrals, and megaliths in Europe, cathedrals dedicated to Mary have one thing in common, the feeling of love. They were often built over an older temple or megalithic site, one that had the same qualities of love. In fact, it seems that our megalithic ancestors were concerned about a few things. Fertility, love, and spiritual connection are pervasive themes to find at their megalithic sacred places.

These same qualities are found in other temples, churches, and cathedrals. It is incredible to consistently find that Mary always shares her energy of love. She is in churches dedicated to her. When she is placed in a side chapel, this quality of love is usually present.

Other saints have specific energies as well.

For example, St. Michael and St. Peter Churches focus on the earthly and cosmic energies found at a particular healing point. St. Peter cathedrals usually have spiritual energy that comes down from the cosmos. He is the saint holding the keys to paradise, to heaven. His points are very cosmic. The healing power comes down to the earth instead of radiating up out of the land like most points or energy vortexes. In St. Michael churches, healing energy rises out of the land, opening the chakras of the feet, moving up the meridians, and cleaning our body’s energy system.

Names of places can be powerful reminders and indicators of the type of healing energy that is part of the story of a place. Next time you visit a cathedral, pay attention to its name and how you feel inside to see if you can get a glimpse into its healing abilities.

 

by Karen Crowley-Susani

If you would like to experience the healing energies of Cathedrals dedicated to Mary, the Black Madonna, St Peter, and St Michael, join us on the Path of Light Tour coming up in 2022. We also have the Magical Brittany Tour for all of you stone lovers. If the mysteries of the Black Madonna fascinate you, don’t miss this wonderful tour.  During our time together, we share with you how to recognize places with healing energies. You learn how to feel with your body and chakra system these high vibration and spiritual connection points.

Learn new skills, eat good food, and enjoy many laughs along the way.
Which tour calls to you?

Keep checking back for new tour updates.

Santa María de Carrión de los Condes

The Hidden Story of Building a Church

Santa María de Carrión de los Condes
Santa María de Carrión de los Condes

To build a church, even a simple Romanesque one is a big job.

The role that earth energies play in building and designing a church or cathedral is one of the most important and most unrecognized elements. There are no modern-day discussions about this essential job of the Master Builder. The question of where to place the altar is a crucial one because it sets up the entire vibration and power of a church. This point is what gives the energetic power, flavor, and ambiance to the entire structure. For a church or cathedral to function properly in its role of spirituality, healing, and connection to the divine, it must be built over powerful earth energies.

As you learn about the energies of churches, you will find that many are named according to the energy of the place. For example, Mary churches usually have a resonance with love and the heart chakra or they are related to fertility. St Michel is associated with a special golden vortex. St Peter is associated with cosmic energy that comes from the heavens instead of up from the earth.

The name and the energy of the place are important.

For example, In Brittany, there is a church called St Michel de Braspart. The church was originally built in 1670 on one of the seven sacred Hills (mounds) of Brittany. The mound called Menez Kronan, is named after the Celtic God of Life and was an ancient place of sun worship. The tiny little church was built on top of this high mound, a place like many other St. Michael churches was built upon. Here the church was trying to convert pagans and stories began to be told of the miracles performed by St Michael. Usually, St Michael churches, have fantastic energetic qualities.

But this church was not fortunate enough to be built over the correct energetical spot.

The St. Michael point of golden energy is actually located outside the church! The priest who designed and built it missed the mark and in doing so, built a disappointing church, lacking the high vibration and healing qualities that one associates with this type of church.

Fortunately, most of the Master Builders were trained well and knew their job.

Subterranean water veins were traditionally used to build churches and most of the time you will find a big water vein running the length of the church. Because the altar sets the tone for the entire church, this critical point needed a crossing of several good quality (high vibration) water veins. The better and more miraculous the water, the better for the energy of the cathedral. Many times, the Master Builder did not have to do much work to find a good place, because he would position the church and altar over a Roman Temple or a menhir, dolmen, or cromlech. It was a very common technique used by many cultures around the world. There is a good example of this in Santa Fe, NM. The altar of the Church of St Miguel was built over a kiva and you can see it through the clear plexiglass that now covers it.

In a simple idealized cruciform church, you would find a big water vein running the length of the church, a water vein crossing it at the transept, and then one or more water crossings at the apse as you can see in the drawing. Armed with this basic knowledge, you can see that there would be a couple powerful energetic points created by these water crossings inside the church.

As a reminder, energy vortexes are created at the crossing of subterranean water veins.

They are seen as tornado-shaped and have colors and qualities relating to our chakra system. For example, the altar crossing of earth energies would usually have a big and powerful vortex of energy and the inside ambiance of the church would be connected to the color and qualities of it. In a church dedicated to Mary, for example, the ambiance is usually green, opens the heart chakra, and at the altar a big green vortex is normally present.

In our example of St Jean de Pied Port, we can see that the earth energies are pretty standard for building a church. There is a water vein that runs the length of the church. At the altar, there is a crossing of water veins and faults. The violet vortex is located at the crossing and helps to imbue the church with high vibration energy. As you will see, the spiritual qualities of this crown-opening vortex were further enhanced by the use of the solar geometry employed in the design of the church by the Master Builder.

After the altar point was chosen, a connection to the sun was made.

Geometry connected to the sun is the time-honored way to build all sacred structures around the world, and churches were not the exception. As some of you are aware, churches are oriented with the apse in the east. But there are more connections to the sun besides this east/west orientation. Solstices are very important times of the year in which the sun reverses in its direction of travel. If you track the sun’s travels on the earth, you will notice a rectangular form taking shape. We call this form, the solsticial quadrilateral, or the solar rectangle. It was used as the basic form to build churches and cathedrals.

Churches can be just a simple solar rectangle or as complicated as a cathedral with their many different layers of different types of solsticial quadrilaterals. Jerusalem, Rome, Ephesus solsticial quadrilaterals were employed as a way to connect the church to these powerful places.  Dynamic rectangles connected to the golden mean could be used, as well as, solar rectangles connected to musical notes and chakras.

For our example of St Jean de Pied Port, our Master Builder combined several of these different types of solar rectangles in his design.

Let’s break it down. First, he used the solsticial quadrilateral oriented in the north-south directions. This type of solar rectangle is called the Lunar Quadrilateral or the Spiritual Quadrilateral. Side by side, two of these rectangles create the inner length and width of the nave. The side of the quadrilaterals relates to the 3rd and 7th chakras, mixing the emotion of the 3rd with the connection to the spirituality of the 7th. It helps to refine the energy and ambiance of the church. The interior also is connected to the 3 x 4 rectangle, a famous static rectangle used in building structures since the Neolithic times. It brings an element of calm and peace to the structure. The external measurement chosen by the Master Builder encloses the church with a golden rectangle adding the connection to life inherent in this figure.

At first glance, the apse seems to be an octagon figure, but the apse angles fit perfectly into a heptagon shape instead. The sides relate to the musical note associated with the 3rd eye. Another characteristic of the apse is that the circle of ether (of the 3rd enclosure) fits exactly inside this polygon of seven. The 3rd duplication of the mandala is connected to sacred space and the ether element to the opening of the heart chakra. The use of the 3rd enclosure here emphasizes the sacredness of the space.

The Master Builder also used the ratio of the latitude of Jerusalem to fit a solar rectangle in the front part of the apse, connecting the church to the Christ energy.  He also used the elements of fire and ether, actively bringing in qualities of love and tenderness. Overall, the Master Builder of St Jean Pied Port does a good job utilizing the earth energies of the place. The church was positioned well, taking advantage of the violet vortex for the altar area. He employed solar geometry to create an ambiance of spirituality and the most sacred place, the apse, hit the mark as a place to connect to the divine. One interesting side note is that in modern times, the position of the altar has been moved off of the violet vortex and the center of the solsticial quadrilateral of Jerusalem. Leading one to the conclusion that the knowledge of this point’s power and connection to the divine, has sadly been lost.

For more information about Earth Energies and vortexes of energies, check out our blog categories. We also share some great information during our free Energetic Geometry Live! webinars and you can sign up for the replays as well as be notified for the next one at https://energeticgeometry.com/live/

by Karen Crowley-Susani

Rocamadour, history, legends and mystery

Dive deep into the Templar secrets at Rocamadour

Rocamadour, history, legends and mystery

Wrapped in mystery, Rocamadour has been a place of legends and miracles for eons.

Our first knowledge began over 50,000 to 70,000 years ago in the Paleolithic times. Archeologists discovered a Neanderthal camp in the area, and nearby the Grotte de Merveilles or Grotto of Wonders was found. Inside cave paintings were found with hands and animals. The Celtic tribe of Cadourque lived here too. They were the last Celtic tribe standing up against Caesar’s Roman invasion and genocide.

The cliffs were places where hermits in the 7th, 8th, 9th, and 10th centuries would find a small cave to make their home.

It was the fashion of the times. Sometimes these hermits became saints in later legends and were endowed with miracle-making skills. One such hermit’s body was discovered sometime after the Christians built a small chapel in the cliffs dedicated to the Virgin Mary in the 11th century at Rocamadour.

Chapel of Saint Amadour
The church of Saint Amadour in the cliffs

One story told is that while digging a grave in 1166, an incorrupt (undecomposed) body was discovered. Finding such a body was miraculous. Even more astonishing was that this mysterious person was cradling a carved virgin, who became known as the Black Madonna of Rocamadour. The mysterious person was identified as none other than Saint Amadour, a hermit who had lived and died there years or perhaps centuries before. His name inspired Rocamadour because he was found in the rocks; Roc means rock, plus Amadour. A church in the cliffs was soon built in honor of Saint Amadour, and pilgrimages to Rocamadour began.

There is another name associated with this hermit as well.

In the 15th century, because it was important to connect saints and places of pilgrimage to Christ, Zaccheus of Jericho became associated with Rocamadour. During his life, Zaccheus knew and conversed with Jesus. His wife, Veronica, even gave Jesus a cloth to wipe his face during his journey to Calvary. According to the updated legends, Zaccheus supposedly ended up in France to escape persecution and died in AD 70 as a hermit in the rocks of Rocamadour.

The Black Madonna of Rocamadour
The Black Madonna of Rocamadour

Pilgrimages were big business for the church, and Rocamadour became famous for all the miracles and healings that the Black Madonna performed.

She cured illnesses and was the patron saint of sailors, saving many of them during shipwrecks at sea. The 6th-century bell in the Chapel of Our Lady miraculously rings to warn sailors of storms and foretells miracles. The Black Madonna has a book of miracles, and entries are still entered in it today! Rocamadour has the distinction of being one of the most significant pilgrimage destinations in Europe for the last 1000 years, second only to Mont St Michel, with 1 ½ million visitors per year.

Both the Templars and the Knights of St John of Jerusalem, also called the Hospitallers, are associated with Rocamadour. The sects were devoted to the Black Virgin. In one decisive battle against the Saracen troops of Muhummand an-Nasir in Spain, the Templars carried the Black Madonna of Rocamadour into the Navas de Tolosa battle in 1212 and, despite overwhelming odds in favor of the Arabs, were victorious because of her. Afterward, the Archbishop of Toledo began a Te Deum in thanksgiving to God and Our Lady of Rocamadour for the miraculous intervention needed for the battle’s success. This vital ceremony healed to seal the Black Madonna’s reputation ability to perform miracles.

There is not much else is said about the Templars and Rocamadour. Still, you can find their mark in the construction of the Basilica. There are numerous Templar type crosses carved on columns and one extraordinary one on the floor before the altar in the Basilica of St Sauveur.

Cross before the altar in the St Sauveur Basilica
Cross before the altar in the St Sauveur Basilica

In the surrounding countryside, many buildings and churches once belonged to St John’s knights, who had enlarged their holdings after the abolition of the Templars in the 14th century. Jean de Vallon was the Head Master of St John of Jerusalem Knights in the 15th century who were active at Rocamadour. His family was from Quercy, and he was buried in St John the Baptist chapel.

The Basilica of St Sauveur is a classic Templar structure.

The rectangular shape is called in the Master Builder tradition, a solsticial quadrilateral or solar rectangle. This particular shape is special and is used worldwide to construct sacred places. The rectangle points connect to the solstices. Each one marks either a solstice sunrise or sunset shown in the drawing.

 

Solsticial quadrilateral

This shape is important because it connects the structure to the sun’s rhythm and the cosmos.

The rectangle of the sun is also connected to the earth’s pattern. When builders use the solsticial quadrilateral, they connect heaven and earth, endowing the space with spiritual qualities. The natural energies of the place are refined, calibrated, and strengthened. Read more about a solsticial quadrilateral’s characteristics and read our blog called Real Sacred Geometry. The link is below.

When a master builder, such as the Templars, decides to build a sacred place, one of the first considerations is what type of earth energies can be employed in the space. Sacred structures are built for several reasons, and one of them is to heal. Earth energies are vital because they give healing energies to the church or temple. These earth energies are water veins and geological faults found below the earth’s surface.

Earth energy lines of Rocamadour
Earth energy lines of the Basilica and Chapel

The Basilica and the Chapel of Our Lady have excellent earth energies that the builders took advantage of during their construction. As you can see in the drawing, there is a big network of earth energies under the Basilica and Chapel. The blue lines are water veins, the red and yellow lines are different types of faults. At many intersections, there are vortexes of energy, depicted as concentric circles of different colors. These vortexes relate to our chakra system and can be felt with our bodies and seen by sensitive people. You can read more about these vortexes in this blog called Secret Energies of Sacred Places in the link below.

One other thing to keep in mind about Templar constructions is that they use the octagon.

During the Crusades, During the crusades, the Templars learned many things from the Muslims in Palestine, including advanced building techniques, mathematics, astronomy, and more. It is interesting to note they learned how to employ the octagon in construction and other designs. Some of their churches are even octagonal shaped, such as the Chapel of Ste Claire in Le Puy en Velay, France, and Eunate and Torres del Rio in Spain. Of course, the Templar cross is created using an octagon, but we will discover it is much more than a simple octagon later in this blog.

Solsticial quadrilaterals of Rocamadour
The solsticial quadrilateral of Rocamadour

The analysis of the Basilica and the Chapel plan shows that the builders used the solar rectangle of Rocamadour as the foundation of the design. They also employed another vital element, Ephesus’s solar rectangle, in Turkey. Builders frequently used this technique to connect churches to Ephesus, the Great Mother Goddess place.

Ephesus was connected to many of the great goddesses in ancient times.

Such as Cybele of the Phyrigians, Astarte of the Phoenicians, Ishtar of the Assyrians and Babylonians, etc. It is known to Master Builders as the Goddess latitude. The temple of Artemis, one of the 7 Wonders of the World, was built there. She reigned as the Queen of Heaven and as the Mother, Healer, and Savior. Reverence for her was so deep that in AD 431, Constantine declared the Virgin Mary to be the Mother of God, and she took over the role as the Queen of Heaven. It is generally accepted that Mary lived out her final days in Ephesus in a tiny stone cottage at the top of Mount Koressos, overlooking Ephesus.

solsticial quadrilateral of Ephesus as used in Rocamadour
Solsticial quadrilateral of Ephesus as used in
Rocamadour

In this drawing, you can see how Ephesus’s solar rectangle was employed in both structures by the blue rectangles.

You can also notice how the Master Builders, the Templars connected important earth energy points (the vortexes) into their structure. For example, the two columns in the Basilica are placed on vortexes of energy, strengthening their effects. The golden yellow fault is used for the cross by the altar. Also, it shows up at the center of the solsticial quadrilateral of the Basilica. The Black Madonna is placed above the golden yellow fault. A mosaic star on the floor of her chapel with its giant crystalline vortex is also connected.

What makes this golden-yellow fault so unique?

Because it joins all of the major energetic points of these two structures. As we touched on earlier, water was employed in all sacred places because of its healing qualities. It can also be miraculous. On the other hand, golden yellow faults were used because of their particular characteristic of bubbling up energy. They can work with the stomach, liver, and pancreas. When there is a configuration of a golden fault beneath a water vein, energetic steam is produced, opening the chakras of the feet and the body’s meridians, resulting in cleaning the body’s channels.

Vortexes of energy at Rocamadour
Vortexes of energy at Rocamadour

Because these earth energies are remarkable, the Master Builders took advantage of them.

The cross before the altar is fascinating. The geometry connected with the solar mandala of Rocamadour calibrates the vortex’s energy. Octagons are the best transmitters of information because they relate to the lymph and water circulation throughout the body. The solar geometry in the cross features water, air, and ether elements and the sun and moon’s energies. The inner-circle is called primordial water and has the unique ability to circulate the water in our body, clean the central channel, and open all the important centers of the body. Jean de Vallon, the headmaster of the Knights of St John, could have been the designer. The design is not a classic Templar design, nor is it a Malta Cross. The design falls somewhere between the two. The Knights probably used the cross for initiations because of its exceptional energetic qualities. It can open the body’s energetic systems and connect people to a higher spiritual vibration.

Templar cross at Rocamadour

The striking mosaic found in Our Lady’s Chapel also has some special energetic solar geometry characteristics.

Our analysis shows that this star octagon was designed using the earth circle as the base. In the Master Builder tradition, the earth circle is the boundary between organized space and chaos. The 8 points touch the solar mandala’s outer limit or the earth circle. The different measurements used to design this star opens the root chakra first and then all the other chakras and finally connecting you to heaven and earth. This star is powered by a water vein and the golden yellow fault. Crystalline vortexes are very healing, and this is a beautiful example of one. 

Octagon mosiac in the Chapel of Our Lady
Octagon mosiac in the Chapel of Our Lady

Finally, the Black Madonna herself is positioned between the two solar rectangles. She is connected with the energy of Rocamadour and the Divine Mother goddess energy of Ephesus. The violet vortex she has been placed over opens the crown chakra, and the crown she wears emphasizes this energy.

We hope next time you visit and ask the Black Madonna for a blessing, try standing on her star on the floor; what happens next may surprise you!

By Karen Crowley-Susani and Dominique Susani

Sacred geometry is connected to the sun

Real Sacred Geometry

Real sacred geometry is connected to the sun and the earth.
Real sacred geometry enhances your connection to the divine.
Real sacred geometry is harmonious and enhances life.

Real sacred geometry is not what you were led to believe.
Real sacred geometry is not primarily concerned with numbers such as Phi, the Golden Mean, or the Fibonacci spiral.
Real sacred geometry is the intimate connection of the earth with the sun, the moon, and the stars.

Sacred geometry is connected to the sun

In this article, I will illustrate how the Golden Mean and the Fibonacci sequence are only pieces of the totality of sacred geometry. The streams of thought born in England, that the Golden Mean and Fibonacci sequences are the beginning and end of sacred geometry, are missing the most fundamental piece of the equation.

To begin our discussion, it is necessary to define the meaning of sacred. Most often the word ‘sacred’ is connected to a place where the human meets the divine. A word which nicely sums up the definition of sacred is ‘hierophany’, which means the appearance of the divine. Hierophany is a word made popular by Mircea Eliade in the 1950s in his seminal work The Sacred and the Profane: The Nature of Religion. Hierophany originates from Greek words hieros – sacred, and phaino – show or appear.

Where do humans meet the divine?

Again, Mircea Eliade gives us a little insight. “Every religion identifies a place and a time when the transcendent breaks into the world. When it does, it makes holy or sacred the place and the time of the breakthrough.”

There were particular places for each culture where this transcendence appeared, and many times it became the center of their world. These places of breakthrough are where heaven and earth connect and can be called the axis mundi.

Each culture believes its homeland is the center of the world and their universe. This space is well known by the people and serves as a microcosm of order. At its center, the axis mundi is the most sacred place of all, and a meeting point of the four cardinal directions. Outside of its boundaries is chaos and the unknown.

The concept of the axis mundi is known by other names, including the world tree (tree of life), the world pillar, and the cosmic axis. The tree of life connects the heavens to earthly planes and through the roots to the underworld. Where the cosmos connects to the earth is a special place, which takes a variety of forms depending on the culture. There are high mountains, ancient trees, symbolic trees or sacred stones. 

A marvelous stone marked some of these very first sacred places.

Examples can be found at Delphi with their carved omphalos stone, the navel of their world. Also in Ireland, the Stone of Destiny stands on top of the Hill of Tara. It was the sacred dwelling place of the gods and entrance to the underworld. At the holy center of Hindu temples, there is a stone called a lingam, which represents Lord Shiva and all the energies of the earth and beyond.

Omphalos - the navel of the world at Delphi
The ompholos, the navel of the Greek world from Delphi

The Druids used actual trees for their axis mundi.  Ancient oak trees were their spiritual centers and an integral part of their spirituality. The Indians held sacred a 3500-year old mango tree, where Shiva and Parvati were married. Many Mesoamerican cultures also had their world trees, embodying the four cardinal directions and axis mundi which connected the heavens with the earth and underworld.

After identifying a sacred place, protecting it, and safeguarding it was next.

So how did they design and build a holy space? A type of shape and measurement was needed. Clues to this measurement may be found in the Greek word geometry. Geo – means earth, and metron translates into the word measure. The roots of geometry began in the measurement of the land.

As well as needing measurement, organizing a sacred place is essential. The axis mundi is the connection between earth and a precise object in the cosmos, such as a star, planet, or constellation.  The axis mundi is often associated with mandalas, and the simplest ones are comprised of a square and a circle which are a 2-dimensional representation of the axis mundi. The square represents the earth, and the circle represents the cosmos or heaven. There may also be four gates indicating the four cardinal points.

Garden of Eden

Because mandalas are a way of depicting the organization of sacred space, they become cosmic diagrams of the world, and some represent a heavenly paradise. For example, paradise for Christians is the Garden of Eden. It can be seen depicted in the 11th century Saint-Sever Beatus manuscript, which is enclosed by a rectangular wall, a type of shape and measurement.

Other cultures possess more elaborate mandalas. Perhaps the most well-known today comes from India and found in the Tibetan Kalachakra. Elaborately drawn with circles, squares, with the axis mundi in the sacred center, the mandalas present an orderly 2D representation of the cosmos. However, they actually portray a 3D view of their world. 

To understand how this mandala was first conceived, we need to go back in time.

Imagine yourself in Neolithic times. What would be the most important celestial body to you? It would have to be the sun because, without it, there would be no life. It was no coincidence that the sun was the main god in many cultures, controlling life and death.

Early people tracked the sun’s travels throughout the year. They knew it moved each day a little more north or south until it came to a halt twice a year and then reversed its direction. These two significant times of the year are the summer and winter solstices. Ancient people not only observed the path of the sun, but were also in tune with the cycles of the moon, the planets, and the stars.

Solsticial quadrilateral and the solstices

For these early people, marking the solstice sunrise and sunset points was an essential part in the creation of their sacred places, because they marked the appearance of their god, the sun. Evidence of this is found in the many dolmens and passage tombs aligned to the rising or setting sun of the solstices and equinoxes. A famous example of an alignment to the winter solstice sunrise is at Newgrange in Ireland. Neolithic people also built stone circles and wooden henges aligned to the sun’s patterns.

In Brittany, France, a different example of alignment to the solstices is found. The Crucuno Cromlech is a giant stone rectangle, whose four corners are aligned to a solstice sunrise or sunset. This rectangle is extraordinary in our search for real sacred geometry because it uses something special – measurements of the earth.

Crucuno, Brittany, France as a solsticial quadrilateral

What does this mean?

As we mentioned before, ancient people tracked the movement of the sun throughout the year. From a bird’s eye perspective, a rectangular shape emerges. This shape changes depending on its location on earth. For example, the further north or south of the equator is its position, the rectangle becomes more and more square-like. In Moscow, the figure created is a square, whereas, in Mexico City, it is a thin rectangle. 

These angles are the measurement of the yearly pattern of our sun. However, they are not precise, because the rectangle can be any length. Another measurement is needed, which is given to us by the earth. A grid-like form is found on the surface of the planet, which is connected to the sun god. This grid or net emanates from the central core of the earth and was re-discovered by the Frenchman Dr. Peyré in 1937. It is an electromagnetic net running in north-south and east-west directions, curiously enough, in the cardinal directions. Its size varies with latitude, and it goes by several names, such as the solar net, natural net, Peyré net, and to the Hopi’s it is called the Road of the Sun. The energy of the solar net dissipates when the sun goes down, which can be verified by dowsing, or sensed in the body or even seen by sensitive people. It was known as a golden net to our ancestors, and its measurements were used to build their sacred places.

Solsticial quadrilateral within the solar net

When the two measurements of the sun and the earth are combined, something magical occurs. A rectangular shape is created. This shape is not an ordinary rectangle; it has superpowers! It begins to organize the energies within it. Order emerges out of chaos, and this rectangle is the starting point for the mandala and the axis mundi. Another of its unique characteristics is that a vortex appears in the center, where there was nothing before. This vortex is fascinating because it is the place of hierophany, where we can meet the divine. It connects the earth with the sun, traveling all the way from the underworld to the cosmos, as does the axis mundi.

How does it work?

Firstly, when standing in the center of this solar rectangle, which we call a solsticial quadrilateral, a connection to the earth can be felt. It is a grounded feeling as if being pulled downwards into the earth. The energy then begins to rise through your central channel. Imagine a tube running through the center of your body from the ground to the top of your head. This energy moves up through the body, balancing and aligning the chakras as it rises. For many people, this is a very profound and spiritual experience, especially when it reaches the throat chakra. This chakra is the gateway to the connection to higher vibrations and the ability to access spiritual planes. When this chakra opens for the first time, people are so overwhelmed with joy they begin to cry. The energy continues to the crown and upwards to the cosmos and spirit.

This simple rectangle, the solsticial quadrilateral, is the first sacred space and was used all over the world to build temples, churches, and homes. It is the real sacred geometry. From the basic measurements found in the solsticial quadrilateral, a mandala can be created, with squares, circles, and the five elements. The cosmology of the universe is ordered and structured inside and the axis mundi is present in the center.

Solar mandala and the 5 elements

One crucial quality of this solsticial quadrilateral, besides its universal use around the world, is that it is alive and connected to life. The union between the solar energies and the earth creates its measurements, because of this, the measurements have an intimate connection to the land, the place, and the people.

This relationship to the place makes the measurements a changing dynamic. The Golden Mean is actually found in the solar mandala hidden in polygons such as the pentagon. It is also found in the relationship between the musical notes and the Elements.

The Golden Mean was not the only proportion used by ancient cultures. The 345 triangle which has the proportion of 1.333 was also well known by the ancients. The Hindus, Greeks, Egyptians, and Mayans all used it in building their temples. The 345 triangle was considered more important than the Golden Mean because rectangular angles were made possible. An interesting bit of history is found in the European master builder tradition concerning the prevalent use of the 345. Master builders used to wear a belt called the 12-knot rope. This rope was comprised of 13 knots of equal spacing. Its cubit measurement was found in the solar mandala.

The 345 rectangle

These relationships illustrate that the two main proportions, the 345 (1.333) and the Golden Mean (1.618), are generated by the mandala. However, it is crucial to understand that developing a geometry based solely on the Golden Mean without reference to the sacred solar mandala, is a huge mistake. Without a connection to the earth and life, it will not work well, and it is potentially dangerous. People become ungrounded, losing their connection to reality, developing difficulties in manifesting their ideas, their business, and their goals.

As an example, if we look at a tree, it is rooted into the earth, and the growth of its leaves and branches could be related to the Golden Mean, but its leaves are like solar panels, always connected to the sun. As you can see, the Golden Mean is the only part of the development of the tree. It is the same for buildings, it is first necessary to connect the structure to the earth and sun, then incorporate the measurement of the Golden Mean. To be effective, the Golden Mean needs to be anchored to the earth, just like all plants, trees, animals, and humans. Real sacred geometry is this anchor, connected to the sun, to the earth, and to life itself.

This knowledge of building with the solar mandala and the solsticial quadrilateral was known to all the ancient builders, such as the Egyptians, Greeks, Romans, Hindus, Muslims, Mayans, Incas and was used until the Age of Enlightenment. The influence of Napoleon who standardized measurements in France signaled the end of the use of solar measurement. Before this, measurements were different in each region and were related to the solar geometry of the place in relation to the latitude.

There are a few ways to learn more about how this real sacred geometry works. Our book Secrets of Sacred Geometry; Solar Geometry for Health and Life is one. We also have online classes and certification programs for those who want to investigate further. To have a look around our new website and see what interests you. To learn more about real sacred geometry read Karen’s blog called: The Energetics of the Fibonacci Spiral and the Golden Mean.

Tibetan mandala painting on monastery ceiling, Kagbeni, Nepal

Vibration and how Buildings Sing

It is interesting when you learn something new that takes you to unexpected far-off places, which is what happened when I first learned about earth tides. Did you know our earth is moving up and down, similar to ocean tides? I had never heard of such a concept. This idea opens the door to many other possibilities of reality and thought about the world we live in and how we interact with it. More importantly, how it interacts with us.

One thing to keep in mind is that everything vibrates through the air.

Our earth is not a static ball of water and rocks lost in outer space. It is surrounded by a gravitational field and is an attractor of celestial bodies. The sun, moon, and planets all pull on our world. We are under the sway of these external forces. Our planet also moves up and down each day, as the earth rotates around the sun and the moon rotates around the earth. This on-going rotation causes a gravitational pull on the earth’s crust, which results in the surface bulging outwards. Scientists can measure these earth tides. Its movement enables them to keep an eye on volcanoes and other interior earth movements. Earth tides provide scientists with such important information as the probability of volcanic eruptions and earthquakes.

What we are interested in, though, is that every 12 hours, our planet and everything on it moves ever so slowly up and down, 30 cm or 1 foot. The most substantial distortion or bulge happens during new or full moons because the sun and moon are aligned, and the effect is therefore stronger.

So, we are in constant movement. From the tallest mountain to the smallest plant, everything is in ever so slight motion. This is cool, but is there something else that makes this new idea so exciting? For me, as a master builder, the answer is, “Yes.”

But let’s first define vibration.

It is the frequency that is emitted or one that locations or objects emit. Frequency describes how fast the object moves. It is a measurable quantity and this is a fascinating concept for master builders.

Ancient cultures in Egypt, India, and Europe found that there was a correspondence between the elements and vibration. They also discovered there was a relationship between musical notes, emotions, and frequency. In fact, there is an entire Indian Sanskrit text called Natya Shastra, written around 200BCE, devoted to the performing arts. The last 6 chapters are dedicated to music and detail information about notes and their relationships with emotions and provide their frequencies.

Wow, how interesting is this? First of all, each musical note has a relationship with emotions. Musical notes can express the gamut of emotions from sadness and hate to love, confidence, and joy. Because we know frequency is a measurable quantity, we can find a measurement for each musical note and emotion.

How can we find these measurements?

Our ancestors found a way to materialize the measurements of the five elements and musical notes, by something we now call sacred geometry. They developed a geometrical concept that the Hindus call a “mandala.”  This mandala is a geometrical representation of sacred space.

Tibetan mandala painting on monastery ceiling, Kagbeni, Nepal
Tibetan mandala painting on monastery ceiling, Kagbeni, Nepal

It organizes our universe and depicts our relationship with the cosmos. The central point of the mandala is that the shape is connected to the rhythm of the sun. It is a rectangle connected to the annual maximum and minimum positions of the sun.

If you look closely at the center of the Tibetan mandala above, you can see four lines that intersect. These lines are connected to the rhythm of the sun in Kagbeni, Nepal. In the tradition of the master builders, this shape is called the solsticial quadrilateral.

This solar rectangle allows for the development of a symmetrical geometry that creates the shape of the mandala of the place. As the mandala evolved from a rectangle, other squares, circles, and polygons were identified, and the five elements were given geometrical expression.

This means the elements can be measured and used for building structures.

In southern India, they built five amazing temples, each one expressing and dedicated to one of the five essential elements. Nataraja is the ether element temple.  Ekambeswara Temple is the earth element, and Jambukareswara represents the water element. The Fire element temple is called Arunachaleswarar, and the air temple is Sri Kalahasti.

One the of most remarkable things about these temples is the measurements used to build the temple are in direct relationship to the element. One way the element is expressed in the temple is through the inside ambiance. Ambiances are the interior colors, or auras, of a place. For example, a clear light green color is consistent with the ether temple.

Another way elements are expressed is through feelings corresponding to the chakra system of the body. Ether is connected to the heart chakra and the color green. When you walk through the temple of ether, you can feel your heart open and expand. These feelings and ambiances are created by the measurement and the vibration of earth tides. Because of this movement, the entire framework, rooms, walls, ceilings, and the distances between columns are all vibrating and emitting a frequency that we can feel in the physical body.

Getting back to musical notes, because they have a frequency they can be translated into a measurement as well, which was used in building. Musical notes are related to emotions, and their measures can elicit a variety of emotions, some of them good and others awful. The knowledge that there can be good or bad measurements is nothing new. The Chinese have applied this knowledge with the use of their Feng Shui Ruler, still used today. The use of it was first recorded during the Sung dynasty (960 – 1128 AD). The auspicious and inauspicious measurements were first applied to furniture, windows, and doors in the imperial palace, and the measure relates to the Imperial foot. Unfortunately, the Feng Shui rulers were made with the measurement of Beijing, and they don’t work in other latitudes.

Today we can find measurements through the use of the solar mandala and its organization of sacred space for each different latitude. The elements have their correspondence to musical notes and emotions, as well. For example, the element of earth is the note of C and it is confident and strong.  Water is D, which is romantic and erotic, E is fire, both sweet and tender. F is ether, quietly both calm and peaceful. Finally, G is air, joyfully happy and soft.

Homes can be designed with musical notes and the elements.

There can be individual measurements for each room. For example, in a bedroom, it is best to use the elements of earth and ether. The emotions for this bedroom configuration are confidence, calm, tranquility, and peace. Ether is particularly interesting to use when building because it is connected to life force energy or prana. On the other hand, if you use fire, you can get some intense and destructive energy that not conducive to sleep!

The idea that structures are constantly vibrating is eye-opening for anyone sensitive to their environment. The ability to use solar measurements to create a specific ambiance and emotion in rooms and houses is a game-changer for anyone involved in creating new spaces. You can now understand why I was amazed to learn about earth tides. This seemingly small bit of information about vibration fundamentally changed how I look at temples, homes, and other spaces. We can create homes that sing with the beauty of life and bring the body, mind, and soul into harmony with the universe.

By Karen Crowley-Susani
First published in the December 2019 issue of Star Nations Magazine.

To learn more about the solar mandala, elements, musical notes, and measurements, be sure to check out our newest Secrets of Sacred Geometry Certification Trainings. This training is a 2-year apprenticeship that imparts ancient and modern wisdom so you can learn how to build homes and other energetic structures of high vibration. Click below to check it out.

Fibonacci Spiral

The Energetics of the Fibonacci Spiral and the Golden Mean

Fibonacci Spiral

In this article, I’d like to explore how the Fibonacci spiral and the golden mean energetically work in structures.

Let’s begin with some history. In the 13th century an Italian mathematician, Leonardo de Pisa, better known today as Fibonacci, published a book called Liber Abaci. He introduced a number sequence that became known as the Fibonacci sequence. Starting with 0 and 1, each new number in the sequence is the sum of the two before it.  0, 1, 1, 2, 3, 5, 8, 13, 21, 34, 55, 89, 144, 233, 377…

The golden mean or the golden ratio is a special number found by dividing a line into two parts.

The longer part is divided by the smaller part and is also equal to the whole length divided by the longer part. Illustration #1 The Fibonacci sequence and the golden mean became linked together in the 1750s when Robert Simson realized that the ratio of each number sequence of the Fibonacci sequence approached with greater and greater accuracy the Golden Mean ratio of 1:1.6180339882. It is also known as the divine proportion, golden section, and phiThe Fibonacci sequence starts looking like phi by the time you divide 34 by 21 to get 1.619 and becomes more precise as the numbers get larger.

The history of the golden mean starts much earlier.

In Egypt, it was used to build Cheops’ pyramid. It is important to note that pyramids were built for several known purposes; to be initiatory places and tombs. The Greeks also knew about the golden mean. Euclid wrote about it in his book Elements and linked the golden mean to the construction of the pentagram, and Plato described the golden mean “as the most binding of all mathematical relationships and the key to the physics of the cosmos.”  

 In the 1500s, Luca Pacioli published a book called Divine Proportions. 

Leonardo da Vinci studied under Pacioli and used “divine proportions” in many of his paintings. During the Renaissance, artists and architects were inspired to use the golden mean in their paintings, sculptures, and sacred buildings. The proportions were said to be aesthetically pleasing, balanced, and spiritual.

The golden mean can also be found in the design of string instruments by the famous Stradivarius. He used the solar measurement of the place, something very common for builders and carpenters of this time to use (described a bit later in this article) and multiplied it by the golden mean (1.618) to construct his famous instruments. 

In more modern times, Matila Ghyka wrote a book called Le Nombre d’Or in 1931 and because of this, the fascination with the golden mean and Fibonacci spiral was rekindled. Even though the golden mean has been used throughout history, its architectural use has been reserved for tombs and sacred buildings such as cathedrals, never for homes. Only in modern times can we find a few examples of architects using it in their designs of homes. 

Why is this?

As we can see in any search on the internet, the golden mean and the Fibonacci spiral are connected to life, even spiritual life. They can be found in nature in the number of petals of flowers, the way the tiniest stem unfurls, in spirals in seashells, and more. The golden proportion of 1.618 is found in key proportions of the body in humans, animals, insects, and in DNA. Our perceptions of beauty support that phi is a factor in what we find attractive.

But what about the energetics behind the golden mean and Fibonacci spiral?

Do they have special qualities because of this link to life and the divine? To explore this question, we need to make some experiments. One current example of the use of the golden mean in architecture is a home designed by Spanish architect Angel Martiñez. He created a beautiful home and the couple who bought it loved it, but as time went on, they began leaving their house more infrequently. Their friends began to notice that the couple started losing weight and within two years they wouldn’t leave their home at all. It was so alarming that it became necessary for the couple to actually be extracted from their home.

Why would this happen to a house designed with so-called divine proportions?

The answer lies in what happens when we experience the energy of the golden mean first-hand in the body. My sacred geometry teacher, Dominique Susani, made experiments with 100’s of students over the years using the golden mean. The students, mostly architects, do extensive training to learn how earth energies and geometric forms feel in their bodies, so they can design structures appropriate for their intended use.

The experiment begins with a rectangle using the proportion of 1:1618, in which the students stand in the center to feel with their bodies the energy created with this proportion. 

As part of the experiment, the students feel the energetics of another rectangle. This one is called a solsticial quadrilateral. It is a rectangle with its measurements based on the solar mandala of the place. These measurements are derived from the union between the sun (the solstice sunrise and sunset angles) and the Earth’s electromagnetic energy.

What happens with these two different rectangles?

Vortexes in center of golden mean and solsticial quadrilateral

With the golden mean rectangle of 1:1618 using with dimensions unrelated to the specific location, the connection with the Earth feels cut off. It is not grounded at all, and every single student understood physically—in their body—why, after two years, the couple living in the golden mean house wouldn’t leave. The rectangle was connected to spiritual matters and had no relationship to life on Earth.

In the other example, using the measurements of the solsticial quadrilateral of the place, the students all felt a strong connection to the Earth as well as a good connection to the cosmos. It was balanced and harmonious. This was because the measurements include both the cosmos and the Earth.

In another experiment, the Fibonacci spiral was used as the design inspiration for an energetic healing structure called a chakra path. It was designed with measurements from the solar mandala of the place using the Fibonacci spiral. Two other chakra path designs were part of the experiment too, a Lemniscate or figure-8 design and one with measurements of the solsticial quadrilateral of the place.

Fibonacci Spiral Chakra Path
Fibonacci Spiral Chakra Path
Lemniscate chakra path
Lemniscate chakra path

The results of this experiment were revealing.

Chakra Path using the solsticial quadrilateral of the place
Chakra Path using the solsticial quadrilateral of the place

The Fibonacci spiral was beautiful to look at but did not contain much energetic strength. The lemniscate, also beautiful, was very strong, in fact too strong for many people. The solsticial quadrilateral was strong, balanced, harmonious, and was the best of the three to align the energy system. 

These experiments showed in both situations (the rectangles and the chakra paths) that there was a disconnection from the Earth clearly felt by each student. Also, the energy of the Fibonacci spiral was weak, it felt like it was missing something. To get a sense of this missing piece, look at the overlay of the Fibonacci spiral with a nautilus shell. Only part of the spiral in nature follows the Fibonacci sequence, then it becomes a completely different spiral as you can see in the illustration.

Fibonacci spiral and the nautilus shell
Fibonacci spiral and the nautilus shell

The golden mean works similarly when used as purely a mathematical number. Only when it is combined with the solar measurement of the place can a rootedness be found. For example, the golden mean employed by the artists in the Renaissance and by Stradivarius was connected to the solar measurements of the place and therefore had a connection to the Earth. On the other hand, the golden mean measurements employed to build tombs were meant to separate the physical or matter from the spirit, which is exactly what happens when there is no relationship to the earth in the calculations.

The golden ratio and the spiral within it are beautiful mathematical ratios and equations.

They are thought to be connected to the divine and to life all around us. The problem with the Fibonacci spiral is when we separate a piece of the actual living form from its entirety, part of its essential energy is lost. With the golden mean, when we don’t use a measurement connected to the Earth as they did during the Renaissance, we disconnect from the very energy that sustains us: the Earth. We are children of Earth and need this connection to manifest spirituality on Earth. 

Energetic Geometry - Discover the connection between the earth, sun, moon, & the cosmos.