Under this hypothesis, the resonant end of the key would be a portal to enlightenment into the upper octave of heaven (the peak of Meru). The shank end would be viewed as the earthly material realm reaching down to the golden ratio bit in the damping underworld. The unlocking bit was then a symbol for harmonic damping, perfect silence, deep sleep, and death. In this way, the key would have been the prime example of how a harmony of both extremes unlocks the possibility of life and consciousness.
After discovering how well these harmonic associations seemed to match both ancient mythology and contemporary religious themes, I wondered if this might also be the meaning behind the crossed keys of the Papal Seal and the huge key shape of the Vatican. I wondered if this model might have descended through the Hebrew Qabala from much more ancient times, perhaps illustrated in some scroll or tablet long since destroyed or locked away in the Vatican library.
In any case, it was my discovery of this theosophical key that led me in two directions at once—one toward the latest scientific discoveries and the other toward ancient mythology. It was this key that enabled me to finally reunite the two, merging the mythological worldview with the modern quantum worldview inside a framework of harmonic science.
At the same time, it was through this Vedic “key of life” or “Ankh” that I began to recognize Venus as the damping bit in the theosophy, bringing order, stability, and coherence to Earth’s resonant orbit in the solar system. From this perspective, it became apparent that the resonant bow pattern was none other than the symbol for the Sun and its eye of light.
Ultimately I came to believe that something like the Solomon Key Model was the original inspiration behind Christianity and the core idea Sinclair and Hay wanted to build in their own Vedic temple of resonance. I came to see it as a variation of the Venus Blueprint.
The Vatican Blueprint
With the Etruscan history of the Vatican and Vedic design of the Roman Pantheon as a backdrop, I began to suspect that St. Peter’s Basilica might also have been built in accordance with Vedic temple tradition. To be a sacred space, it would need to harmonize with nature, be suitable for Holy Communion, and provide a launch pad for resurrection. In short, it would need to be designed with the Venus Blueprint.
Like Rosslyn the Blueprint unlocks the true meaning of the Vatican. It explains both the key-shape design of the Basilica and the Christian-cross floor plan within a single cosmological template. Rather than the cross as its primary design element, it becomes the Blueprint pattern that tunes its architecture to nature and makes it a sacred space.
The Vatican’s designer Donato Bramante would have begun by scaling the Blueprint over the original Basilica design, centering it on the entrance to the ancient necropolis (Fig. 21). Drawing a Blueprint grid from the pentacle’s intersections, he would have then marked the inner and outer dimensions of his floor plan. In this way, the Shekinah would be located at the Confessio entrance to the tomb of St. Peter (where the woman in labor is carved), while the Holy of Holies becomes the Papal Altar or Baldacchino.28
FIGURE 21. The Blueprint floor plan of St. Peter’s Basilica
Just as we find in Rosslyn’s pillars, putti would be carved into the four pillars of the Papal Altar to symbolize the children of Venus. Like the twin beehives on top of Rosslyn’s roof, honeybees would be carved among gilded vines on the spiraling pillars. Thus the Basilica would be another great Vedic temple to the mother goddess of Venus who protects and fertilizes the sacred mount.
Unlike Rosslyn chapel and other Vedic temples, the Vatican Basilica must include a cross in its design to echo the Christian messiah narrative. But this would be no ordinary Christian cross. Instead it must be a cube inside the Blueprint that unfolds into what we know today as the Rosy Cross of the Rosicrucian Order.
As the highest symbol of medieval gnosis, the unfolded Rosy Cross is depicted as a five-petaled rose, symbolizing the rose orbit of Venus and corresponding to the inner pentagon of the Blueprint. This is the inner Lady Chapel and Rosabelle of Sir Walter Scott. It is the Holy of Holies.
Bramante apparently set the Rosy Cross so that it would align with both the Blueprint and interior walls of the Basilica. Each square of the cube aligns with a horizontal tier of the Blueprint, while also matching the diameters of the three half-circles in the floor-plan design. In this way, the cross is the Blueprint and the Blueprint is the cross—but the thing that makes it a sacred space is the Venus Blueprint, not the cross itself.
Cut by the Blueprint design into golden sections, it represents an acoustical space in tune with nature just like Rosslyn. Yet we would never read about it in the Bible nor hear about it in a sermon. Neither would we find it in present-day architectural designs or a wave physics class. Instead the science of harmonically resonant architecture remains a well-kept secret behind the blinding brand of the cross.
Why do we not know about this? After all, it was a stupendous achievement of Roman engineering and a jewel in the crown of the Church. What could it be about this resonant design that should be kept secret for so long? Was it the pentacle star they wanted to hide, or was it something that might embarrass the Church even more?
Unlocking the Hebrew Temple
In the Hebrew temple, the restricted zone of the Holy of Holies was a kind of trip room. This is where the high priest would consume entheogenic wine and manna on Yom Kippur. Legend has it he would tie a rope or golden chain around his body that extended through a closed curtain to a small priestly group waiting outside. Like planets orbiting the Sun, the lesser priests would hold onto the chain outside the inner sanctum, waiting patiently for a divine message. They did this in case the high priest should request help by pulling on the chain.
What is it that makes the inner sanctum or Holy of Holies so holy? The answer is once again the Venus Blueprint. Temples built according to this fractal geometry would naturally follow an increasing degree of holiness toward the inner pentagon or rose. In this way, the Blueprint design helps create an acoustically balanced space and ideally resonant chamber for psychic incubation and divine communion. Perhaps this is the big secret the Roman Church would not want to reveal about the Basilica.
While the relationship between acoustics and meditation has been little explored, acoustical effects are central to any Blueprint temple. Chant, song, and music have always been a critical part of meditation and the entheogenic experience. As we find it in Rosslyn chapel, St. Peter’s Basilica, the Roman Pantheon, and Greek Parthenon, we can date the Venus Blueprint design as far back as 447 BC. Yet this does not begin to date the antiquity of its use as a template.
Solomon’s Temple of Jerusalem, built nearly 3,000 years ago, was indeed a Blueprint temple. We can see this by overlaying the Blueprint fractal onto Isaac Newton’s floor plan of the Temple drawn from a description in the Bible. As in the other temples, there are simply too many alignments to be mere coincidence (Fig. 22).
FIGURE 22. Blueprint floor plan of Solomon’s Temple of Jerusalem
The Blueprint grid defines key dimensions, doors, halls, and wall placements in the Temple. It also demarks areas of increasing holiness as it converges toward the innermost pentagon. We find here the same double-square configuration found in Rosslyn chapel and the Parthenon, shifted westward slightly to accommodate the high priest’s resonant trip chamber.
The small inner chamber is then the Holy of Holies containing the Shekinah Pillar. This is where the high priest would take communion on Yom Kippur, having visions under the guidance of Asherah, the Hebrew goddess of Venus. Returning from his inner-world experience, he would share his prophesy with the other priests.
We might now better understand the Shekinah in terms of resonance. It is located within the Blueprint egg as the point of maximum pressure, perfect order, and total control. Above this special pressure point is the calm point of balance along the horizontal of the pentacle intersecting the Holy of Holies.
This was how Solomon probably understood his temple—a harmonic instrumen
t of control and order to guide and fine-tune his entheogenic visions. Solomon is said to have used his pentacles to summon and control elemental beings, just as modern Wiccans claim to conjure and control spirits. Would it not be logical for him to build his temple using such a pentacle for just this purpose?
Now, whether the Blueprint’s pentacle geometry actually works in matters of spirit is difficult to say and entirely outside the scope of my personal experience. But one thing we do know for sure is the pentagram has a long history as an instrument of control. The Roman Church used it together with the serpent symbol as an anti-Christ symbol to defeat paganism. The U.S. Pentagon uses it as the planning center for their war machine. Indeed, each star on the American flag and countless other national flags represents a governed state of order and control. Using the five-point star as an omnipresent symbol of law enforcement is surely no accident.
When we view the Blueprint in physical terms as a pressurized container, it is quite easy to see how temples built from this natural egg design would become symbolic of religious control by the priestly class. The restriction of congregational entheogenic wine communion first in the Hebrew temple and later in the Christian Church (in favor of ordinary wine and grape juice) was also part of this social engineering program.
Restricting entheogen use during services eliminated firsthand revelatory experience from the sacred plants, making the congregation entirely dependent on the priestly class for spiritual guidance. When combined with an understanding of astronomy and mathematics, the priests were easily the most enlightened and knowledgeable people in society, elevating them as the de facto gatekeepers of the afterlife. Ordinary people had little choice but to follow the priests and do as they said, completely unaware of what they were missing.
By comparison, shared communion was encouraged in the ancient Egyptian temples of Hathor and the later Greek Eleusinian celebrations for Demeter and Persephone. The same was true with the Roman Bacchanalia and Dionysian rites. In the ancient world, temples were by and large a transformational technology available to everyone to help people achieve higher states of consciousness. Founded on principles of resonance, they were designed to harmonize the physics of the outer world with the phenomenological experience of the inner world.
The Resonance Key
Uncovering more details about Meru and its central role in the development of religion, Stuart and I became increasingly puzzled as to why so few people are aware of it and why it is never mentioned, at least in Western countries. Considering the secularization of education, we wondered why it would not be the centerpiece for studies on world religions, mythology, philosophy, anthropology, geography, and ancient civilizations. After all, a great many mountains, cities, kingdoms, and kings received their names from Meru, and temple building around the world was clearly based on it.
The only reasonable answer we could imagine was Western schools evolved out of the avoidance and suppression doctrine of the Roman Church. Meru is not seen as a universal archetype in the West and neither is the Rig-Veda acknowledged as the founding principle of religion. In fact this subject is avoided entirely.
A widespread awareness of Meru would expose the Vedic roots of the Abrahamic religions, while opening the door once again to natural theosophies. This would of course be counter to the Christian theological doctrine of global control now entrenched in all Western institutions. It could unwind the Western materialist culture, bring a return to inner-spiritual traditions, and restore a sense of self-responsibility beyond the physical. It would bring certain anarchy to the world as people transitioned back into a naturally harmonious worldview.
But there is an even deeper reason the schools never mention Mount Meru. The Meru legend is an analog for the most important constant of nature, namely the golden ratio and its convergent Fibonacci series. It would reveal how universal harmonic principles are working at different scales of nature to create the physical world. It would provide a unified worldview for how nature self-organizes through resonant patterning—not only natural selection and mutation—recasting the universe as a kind of musical loom rather than a cosmic accident. If everyone knew that space and time are inherently structured to resonate into living organisms and consciousness, much of the current scientific and religious paradigm would crumble.
I came to understand the universe as a harmonic loom while working on my first book. When I realized that the Fibonacci series can be taken as a proportion to the harmonic series to generate the cardioid “apple” geometry common to most plant and animal life, I knew at once this was the way everything worked (Fig. 23). I knew that carbon-water geometry must be what causes cells to resonate into this pattern. I began to see living things as liquid crystals that resonate into shapes just like minerals, not only as a result of macroenvironmental influences.
FIGURE 23. Polar and linear interference patterns of resonance
In fact I discovered that the spiraling Meru pyramid could even be used to model organic growth. From its square foundation, the Sri Yantra or pyramid base can be viewed as a resonating two-dimensional surface extruding upward along a square Fibonacci spiral or swastika. Applying this then along a two-dimensional line instead of a three-dimensional surface, the Vedic concept of Mount Meru becomes a physical model for cellular entrainment and growth. There is even a simple mathematical equation to go with it.
From the Meru pyramid, the circular or wavelike harmonic series can be divided by the spiraling Fibonacci series to create a third curved geometry known as a Gaussian derivative distribution (Fig. 24). When these two series are taken as a ratio over time, we find the resulting harmonic interference function mimics the organic growth pattern in many forms of life, including the human body.
FIGURE 24. Harmonic interference function
We can use the same harmonic resonance model in Rosslyn and other Blueprint temples to describe the growth patterns of plants and animals, not to mention tectonic formations, orbital patterns, and mineral crystals. Based on this resonating pyramid model of Meru, it is quite possible that a rudimentary but accurate theoretical physics was developed thousands of years ago. The only scientific instrument necessary to prove this would be a musical instrument common to most tribal societies. This of course is a drum.
By sprinkling sand on the drumhead and intoning different musical intervals, a series of cymatic patterns over an octave would reveal this curved interference pattern. The more open space inside the pattern, the more resonant that proportion of an octave would be. Stringing these patterns together as a series and assigning height to space, the interference curve of life could have been deduced.
There is circumstantial evidence that something like this was going on with the early Hebrews. In southern Africa, the Jewish Lemba tribe claims that a drum brought to them from Arabia called the ngoma lungundu was actually a replica of the original Ark of the Covenant hewn by Moses. To confirm this, British professor Tudor Parfitt traveled to Harare, Zimbabwe. There he managed to find such a drum stored away in the dark recesses of the Museum of Human Sciences.
With holes on both sides where two poles could be inserted to carry it, the drum was not unlike the biblical description of the Ark. Carbon dated to around 1350 AD, Parfitt hypothesized there may have been a series of these ceremonial drums stretching back to the time of Solomon and that the Ark may well have been a drum rather than just a box.29
The biblical description of the Ark offers further evidence that it was a musical instrument. Measuring 1.5 cubits in width and depth and 2.5 cubits in length, the proportion of the container would have been 2.5 / 1.5 = 1.66666666, a ratio identical to the highly resonant proportion of the choir loft in Rosslyn chapel. Since the Temple Ark was apparently designed to maximize resonance, it is very likely the priests used it to study cymatic patterns produced by voice and music.
In support of this hypothesis, the Ark is described as the first vessel to be constructed within the temple, symbolizing how “the Word” was the first thing formed
from the Pure Spirit of Yahweh. This might even suggest it was used to generate cymatic glyphs for the Hebrew alphabet by vocalizing different words or phonemes over its square drumhead. After all, most of the Hebrew glyphs are square in shape.
As a sacred vessel of language modeled on Meru, cymatic drum experiments could well have been considered the Word of God that led to the development of written language. Beginning with Vedic Sanskrit, then Sumerian cuneiform, Egyptian hieroglyphs, and Hebrew script, cymatic resonance experiments could have been the key that unlocked the potential of humanity through the written word. Along the way, it would inevitably unlock the universal apple pattern of life—the Apple of Knowledge.
The Harmonic Lattice
Interpreting Mount Meru as a theoretical model for resonant patterning casts a new light on the ancient worldview. We can imagine a time long ago when shamanic priests carefully charted the heavens, tracing the orbit of Venus, phases of the Moon, and long cycles of the Sun to understand their harmonic properties.
Comparing these patterns to their cymatic experiments, ancient scientists would have deduced that an invisible realm of vibratory energy must exist from which the material world resonated into existence. This realm, which they called Aether, permeated everything—even the vacuum of space. It was the substance through which light could resonate, traveling from the gods down to Earth. From this invisible realm, the physical world spun out like music from the summit of Meru.
Through this musical worldview, people found that patterns of consonance, dissonance, tension, and release were universal to all things. Taking these as divine personalities behind the physical world, harmonic physics became the stuff of myth and legend. Astrology, numerology, and symbolism were a part of this too, a way to divine God’s plan from a sky full of resonant patterns.
The Venus Blueprint Page 12