This component may be considered as energy ware. It utilizes and refines the energies that culminate at this precise point. Rosslyn sets on a powerful telluric generator and is a major fulcrum point on the Planetary and Stellar Grids. This knowledge has been known in more advanced eras. (James Tyberonn, Earth Keeper Chronicles, 10, [2007])
Tyberonn goes on to say that Rosslyn chapel is located on a very specific location, which he says was communicated directly to William Sinclair. He claims Sinclair received this information from an “Angelic Host of Ascended Masters” who also advised Sinclair on the location and construction of the chapel. He further claims the existence of a vortex in the center of the chapel in front of the altar, with five smaller vortices at different frequencies surrounding and flowing through the central vortex. Tyberonn believes this pentagonal energy pattern is generated and directly fed by a larger grid of energy sites running through Great Britain and Europe as described by Buehler, most having major medieval cathedrals constructed over them.
Now whether one chooses to accept these claims or not, such stories are clues to the use of geometry and harmonic principles in the design of Rosslyn chapel and perhaps more ancient temples. Combined with my findings concerning the harmonic properties of the chapel’s architecture, harmonic symbolisms, musical cubes, and connection to Venus, it seems wise not to write this off too quickly. It is likely that special consideration was given in choosing Rosslyn’s location in the Scottish Pentlands, especially with the religious significance this building had to the Sinclair family.
Reactivating the Grid
In a flurry of emails on the subject, Tommy, Stuart, and I began exploring the possibility of reactivating the Reshel grid through Rosslyn. Tommy theorized that if the correct frequencies were applied to the three stone microphones, either together or in sequence, it might cause the chapel to amplify their resonance and thus activate the underground energy source described by Tyberonn. Tommy’s hope was that this would somehow raise the overall frequency of the Earth and elevate human consciousness.
Entertaining his hypothesis (fantastic as it was), I suggested the frequencies would probably need to be related to the Earth’s Schumann resonances. These natural resonances are a set of spectrum peaks in the extremely low frequency (ELF) portion of the Earth’s electromagnetic field spectrum found in the Earth’s ionosphere.
At any given time there are about 2,000 thunderstorms around the globe generating an average of fifty lightning events per second. This continuous storm activity is what sustains the Schumann resonance in the ionosphere, immersing everyone in the world in an electrostatic sphere of inaudible buzzing. Based on this fact of nature, I began to seriously consider if resonating Rosslyn at the right frequencies would trigger a corresponding buildup of electrostatic energy or even lightning in and around the chapel.
Explaining my hypothesis to Tommy, he told me he had once been struck by lightning as a young man while riding a bicycle on the way to Perth near Loch Leven. As luck would have it, he had survived the strike, but it had become a running joke in his family that lightning always seemed to follow him, even striking his house some years later as he was entering the door. A Cheyenne woman once told him that anyone struck by lightning automatically receives the “medicine of the Lightning Beings and remains connected.” Tommy seemed to think this is what had caused him to become more spiritually minded.
As part of the Sir Walter Scott story describing lightning or electrostatic charges in Rosslyn, I found all of this very synchronistic. I had just heard a similar story a week earlier from a new friend in which he too had been struck by lightning and afterward become more spiritual in his views. It seemed my research into Schumann resonance was somehow intersecting the effect of electricity on human consciousness. Could consciousness, as an electrical phenomenon, somehow be affected by certain Schumann frequencies?
Pondering this, I began to imagine the Earth as a giant bee and then, on a whim, decided to compare my frequencies for Rosslyn with the Schumann electromagnetic frequencies to see if there might be some correlation. Since the Schumann frequencies start around 1.33 hertz and peak at harmonic multiples of 6.5 hertz, I divided 1.33 hertz into the chapel’s prime resonant frequency of A-432 to see if the chapel might be synchronous with the Earth’s ionosphere.7
To my surprise, I found that the Schumann undertone frequency of 1.33 hertz does indeed divide evenly into the chapel’s heated resonant frequency of 432 hertz exactly 324 times. Since it does divide evenly, this implies that Rosslyn’s inner dimensions will resonate with the Schumann frequencies and the Earth itself at a 4:3 perfect fourth proportion. Now I was getting somewhere.
It was around this time that I came across a study coupling Schumann resonance to human brain waves. In this 2005 study, Russian researchers Lipkova and Cechak had discovered a marked resonance in the 1.3- to 4-hertz range using a loop antenna to measure Schumann frequencies in the brain. As the table in end note viii shows, 1.33 hertz represents an undertone to the strong fundamental in the Schumann overtone series that corresponds to the slowest delta frequency in the human brain.8
According to the study, the four classifications of brain waves actually parallel the first four Schumann resonance frequencies. Other studies I found concur with this, proposing a link between Schumann frequencies and human mental states.
The theory goes that these frequencies were here long before life appeared, generated by electrical storms around the world. Thus the organisms that have evolved within this environment must have absorbed the natural frequencies during evolution, entraining and tuning certain functions in the body and brain to vibrate synchronously with the Earth.
Based on this, I began to connect the dots back to Rosslyn. I reasoned if both the human brain and Rosslyn are synchronized with the Earth, then Rosslyn as a resonance chamber might be capable of impacting biological processes in some way. Certain frequencies played inside Rosslyn at the right temperature may interact with the Earth while simultaneously interacting with the human brain. I thought it might even induce some kind of altered mental state for anyone inside the chapel, especially during a heated funerary rite.
Again how much of this could Sinclair and Hay have known? Almost certainly they did not know about the synchronization of A-432 to the speed of sound in hot air or that this frequency might be synchronized with the resonance of Earth’s ionosphere. They also could not have known the numeric frequency of a bee’s wings or the temperature of their hive. How would they have measured such things?
What they did seem to know was the musical note B was a pun on a honeybee and that both are connected to the Shekinah Pillar and Venus. They could have also known the dimensions to use based on Ling Lun tuning and nature’s ideal fertility temperature by a simple touch comparison with a beehive. Moreover they could have known, or at least believed, there was a relationship between frequency and heightened mental states, leading them to use it during funerary rites and perhaps other special occasions.
Encoded into this architectural design is evidence of a vast range of knowledge. In the chapel’s dimensions and symbols we find the Earth’s orbital frequency relative to Venus, ancient mythologies and religions pertaining to bees, esoteric temple practices, music and harmonic theory, cymatic resonance patterns, the speed of sound at different temperatures, a harmonic link between acoustics and geometry—even resonant synchronization with the Earth’s electromagnetic field!
Are we to believe this is just a matter of coincidence? Am I reading too much into it, or did Rosslyn’s designers really possess an ancient harmonic wisdom capable of resonating a stone temple with the Earth and altering human consciousness? To me, this little chapel in Scotland was looking more and more like an advanced yet ancient technology used, it seemed, to enter into and communicate with other realms.
The Temple of Man
The more I studied the chapel’s floor plan, the more layers of harmonic geometry I found in its design. The first layer I found was “th
e squaring of the circle.”
First documented by Roman architect Marcus Vitruvius Pollio in the first century BC, the squaring of the circle became popular after Leonardo da Vinci used it to draw his famous illustration of a man standing spread eagle inside a circle and square. Known today as the Vitruvian Man, it was once used to describe the harmonic proportions of the ideal human body.
In the next figure, the square of the chapel length is shown to be equal to the area of a circle centered on the Shekinah Pillar and aligned to one side (Fig. 5). In this configuration, we have geometric proof that the chapel was designed in accordance with the squaring of the circle. In fact, the Shekinah Pillar forms a golden section with the square.
When the chapel is rotated ninety degrees within the same square and circle, aligning with the bottom of the square, the Shekinah now becomes the center of the square, while the circle center aligns with the eastern wall or high altar of the Holy of Holies. This is where the Vitruvian Man comes into play.
When we lay the human figure into the circle, the circle’s center becomes his navel and the Shekinah Pillar aligns precisely with the perineum, as if to symbolize a male phallus. Furthermore, the small eastern chamber in the sacristy frames the face perfectly.
So it seems the chapel was designed not only to the squaring of the circle, but also to the ideal proportions of the human body. In this way, the Shekinah is revealed as both a geometric point of origin and fertility.
FIGURE 5. Square the circle; unfold the pyramid; unlock the Shekinah
At first, we might assume Rosslyn’s designers learned this technique from da Vinci himself, but this cannot be the case. Leonardo was an infant when the chapel was being designed. More likely they learned it from the same source he did—the Vitruvian Canon of Proportions. Vitruvius was an architect and often used human proportions in his buildings. In fact, many temples and important buildings have been designed this way over the millennia.
In his book The Temple in Man, R. A. Schwaller de Lubicz offers convincing evidence that even the Temple of Luxor in Egypt was designed using human proportions. He identifies stone patterns arranged to match the shapes of the ear and face. He also finds specific chambers and doors corresponding to the ear’s Eustachian tube and the small pineal gland at the bottom center of the brain, the gland that regulates sleep and dream functions. Lubicz describes this last door as a portal to enlightenment, which he believes was used in temple initiation rites.
Rosslyn’s designers seem to have been very aware of this ancient tradition, extending back to the design of the Great Pyramid of Giza itself. As evidence of this, we can find an Egyptian triangle with the same proportions as the Great Pyramid in the chapel reflected east and west of the Shekinah Pillar. In effect, a scale model of the Great Pyramid can be unfolded flat around the Harmonic Center of the Shekinah, proving the chapel is geometrically congruent with not only the squaring of the circle, but also the classic pyramid geometry.
We find further evidence that Rosslyn was influenced by pyramid geometry by comparing the square’s perimeter with the circumference of a circle having radius equal to the Egyptian triangle height.9 As yet another sacred geometry in the chapel’s design, the distance around the square of the facade is as close as possible to the distance around a circle with a radius equal to the distance from the facade to the Shekinah. The proportion of areas between this square and circle correctly resolves to the well-known proportion л / 4.
Add to all this the fact that the height and half-width of the chapel’s original facade also forms an Egyptian triangle and the depth of the design becomes clear. A square with an inscribed circle hinged between two pillars completes the original facade. When the pyramidal facade is then folded inward, its tip again rests at the center of the Shekinah Pillar (Fig. 6).
FIGURE 6. Geometric design of the original facade of Rosslyn chapel
When I first discovered this magnificent tapestry of interlocking geometries, I could only surmise that the Shekinah Pillar had been intended as a male phallus to symbolically fertilize the Lady Chapel. It was undoubtedly meant to represent the congress of masculine and feminine—like the Hindu lingam and yoni or the Chinese yin-yang symbols—together unified as an axis around which a harmony of triangles, squares, and circles could be conceived.10
This geometrical framework and its correspondence to the floor plan of Rosslyn offer hard evidence to support my hypothesis that the chapel had been conceived as an ideal resonance chamber. Harmonic principles were without question used purposely by the designers as part of a spiritual science. Perhaps they learned some of this from an even older source than Vitruvius, such as the Egyptians.
For the ancient Egyptians, the triangular dimensions of the Great Pyramid were a sacred symbol of natural harmony. The dimensions embodied the Pythagorean theorem (long before Pythagoras) that the sum of the squares of the sides will always produce the square of the third. Expressed as 32 + 42 = 52, Egyptian scholars have interpreted this equation to be a representation of Sun-Venus fertility.
The number three can be taken symbolically as the masculine divinity of Osirus (the Sun), and four represents the sacred feminine of Isis (Venus). Using the theorem equation, the number five then represents their offspring. As a mathematical expression of fertility, 32 + 42 is equal to 144 (or 12 squared), which is symbolic of divine completion and perfect knowledge of eternity. In this way, the Egyptian triangle symbolizes resurrection and everlasting life.
In a first-century treatise on Isis and Osiris, Greek historian Lucius Plutarch explains it this way:
One might conjecture that the Egyptians hold in high honour the most beautiful of the triangles, since they liken the nature of the Universe most closely to it, as Plato in the Republic seems to have made use of it in formulating his figure of marriage. This triangle has its upright of three units, its base of four, and its hypotenuse of five, whose power is equal to that of the other two sides. The upright, therefore, may be likened to the male, the base to the female, and the hypotenuse to the child of both, and so Osiris may be regarded as the origin, Isis as the recipient, and Horus as perfected result. Three is the first perfect odd number: four is a square whose side is the even number two; but five is in some ways like to its father, and in some ways like to its mother, being made up of three and two. (Plutarch. Excerpt from “Isis and Osiris” in Moralia.)
Echoing this Egyptian theosophy, Leonardo da Vinci once said the feminine circle represents spirituality and the male square symbolizes the material world. We see this idea echoed in Rosslyn as the Father + Mother = Child pillars corresponding to the musical tones A + B = C. The pillar trinity of the Earl, Shekinah, and Prince are used to square the circle and unlock the true meaning of Rosslyn. Expressed in Rosslyn as the square fertilizing the Shekinah circle at the tip of an unfolded pyramid, the Egyptian triangle is revealed to contain the divine proportion.
Yet there is more to be found in the geometry of Rosslyn to amaze and astound. The proportions of the Egyptian triangle in the Great Pyramid closely approximate the proportional sizes of the Earth and Moon, making Rosslyn an Earth-Moon model in miniature. The fact of the matter is the base-to-height ratio of the Egyptian triangle is the same ratio of the Earth’s radius to the combined radii of the Earth and Moon. The result is a “golden egg” (Fig. 7).
FIGURE 7. The golden egg of the Earth and Moon
In the figure, the golden geometry of an average hen’s egg is shown enclosing the Earth and Moon such that the height-to-width proportion is the square of the golden mean divided by two. Reproducible by taking the average of dozens of different species of bird eggs, the golden egg represents a kind of Vitruvian egg of ideal proportions. Rosslyn itself fits inside this golden egg.
Was this the original idea behind the mythical World Egg or Cosmic Egg found in so many cultures and religions? And was this the mythical golden egg of the Egyptians and Greeks, used to symbolically fertilize Rosslyn?
The Greeks and Romans did indeed know
the Earth-Moon system was a golden egg and probably used it as a fertility symbol for this reason. Aristarchus of Samos first documented the diameters of the Earth and Moon between 310 and 230 BC by measuring the angular diameters of the Moon and taking that as a proportion of the Earth’s shadow spanning two Moon diameters. Whether he learned this from the Egyptians we cannot tell, but if Rosslyn’s designers had access to any of Aristarchus’s work, they would have known their chapel was harmonious with the Earth. There would be no need for Schumann resonance metrics to get it right.
But was the harmonic geometry in Rosslyn intended as more than just a symbol? Did this fifteenth-century chapel represent an ancient harmonic science capable of altering consciousness, affecting the Earth, and even assisting passage into the afterlife?
CHAPTER 3
The Birth of Venus
After some time inspecting the intricate carvings of the stone microphones, I turned to look for the others. Scanning the chapel, it seemed as if they had vanished into thin air.
Wondering what had happened, I began retracing my steps to the front of the chapel when Stuart popped up from behind a low wall to tell me everyone had gone underground into the sacristy. Caught up in the excitement of seeing Rosslyn for the first time, I had completely forgotten that the sacristy was open to the public.
Making my way down the steep stairs, I was reminded of the underground tombs of the pre-Roman Etruscans. Just the summer before, my family and I had taken a one-month tour of the Mediterranean, visiting an Etruscan necropolis in Italy near a villa in Civitavecchia. There the tombs were buried unusually deep underground, each with elaborately decorated walls. By comparison, Rosslyn’s sacristy and crypt were not nearly as deep or as decorated.
The Venus Blueprint Page 5