Pictures of the garden >> View post on imgur.com
Heart of the Garden Labyrinth
Summer of 2013 lights were added to help you find your way at night … when landing.
Labyrinth in Ravenna
And I could not help but notice the 37.
Brandenburg Bronze Age Spear of Destiny
note the 3-arm and 4-arm swastika
3 CROSSES of CHRIST
Crosses of the Hidden, the Crucified, and the Risen Christ
- The Cross of the Hidden Christ >>> the Swastika
- The Cross of the Crucified Christ >>> the Celtic Cross
- The Cross of the Risen Christ >>> science of triangles
This next blog seems to have had a best before date;
2012 = THE CROSS OF THE RISEN CHRIST” = THE DAY THE EARTH STOOD STILL
I make a comment on the blog that the CROSS of the RISEN CHRIST reminded me of the Tippe Top that I speak of in that blog.
When it is clear to me now that the Tippe Top embodies all three crosses.
I became aware of this as I was building a labyrinth in my own backyard this past summer based on several archetypes that merge together so nicely.
The labyrinth I designed for my garden contains the following archetypes found within all these images:
Helen Curry and the Labyrinth Society:
http://labyrinthsociety.org/labyrinth-t … egory/314/
Rosetta Fractal Mandala next to the 3 Crosses of Christ
The shape is an ‘alchemical marriage’ a ‘ceremonial labyrinth’ created by Helen Curry* and of my avatar, the THREE Crosses, along with the series of concentric rings presented below, which is based on, and created using the Greek Zodiacal Cross, and the concept of Precession of the Equinoxes.
from left to right Atlantis, Plato, and the Atlantis Cross
A model employed in the Atlantis Cross as described by Plato too.
- 4 AGES ModEL * Atlantis – EL Dorado – Zeitgeist – Venus Project
- 4 AGES modEL – SOURCE – FLOW – SHADOW >>> on TARGET
4 AGES modEL based on Precession of the Equinoxes
The CROSS of the CRUCIFIED CHRIST or the Celtic Cross is the cross that MOST resembles the shape, form and function of the Tippe Top as it is set into motion.
But when the Tippe Top reverses itself and flips in the final stages it becomes clear that we can now associate its rotations with these three crosses.
The arrow, the celtic cross, and the reversal of fortunes implied by the swastika due to movement.
Atlantis Cross placed between the two pillars, the two thieves, NEGative Yin and POSitive Yang
Please note the numbers in the 4-Ages MOEL above that were extracted from the Greek Zodiacal Cross which apart from the handle and concentric circles, seems to be a fit for the Atlantis Cross above, both have indications for each of the 12 zodiacal signs.
This is important to note, otherwise you will never see the connections and associations.
Note the pattern I present in my 4 Ages Model.
It is consistent with the SAME astrological signs that Alice Bailey assigns her THREE CROSSES based on astrology.
Cross of the Risen Christ
TAU Cross combined with the right angle triangle
Is gravity connected to the 90 degree angLE?
Cardinal signs of the Zodiac 1, 4, 7 and 10
It is the first level or ring in the model.
The BLUE arrow rotating clockwise.
Cross of the Crucified Cross
CELTIC Cross – Fixed Signs of the Zodiac 2, 5, 8 and 11
This corresponds to the second ring or energy level, if you were applying it to electrons and the periodic table etc.
The RED arrow rotating clockwise.
Cross of the Hidden Christ
SWASTIKA Cross – Mutable signs of the Zodiac 3, 6, 9 and 12
Is the third level and please note a reversal takes place the GREEN arrow is now rotating counterclockwise or anti-clockwise, this helps to define this universal model. The Hidden Christ thus reverses what the Risen Christ began.
But in the reversal the Hidden Christ is Crucified but note this leads to the Risen Christ again….
The REVERSAL or a FEEDBACK LOOP must be present in the final stage to be valid.
I have found so many belief systems that fit this 4 AGES modEL that ‘reverses’ itself in the third stage.
Similar to three wishes granted by your genii.
And remember before making that third wish, it tends to negate the first two wishes.
The above labyrinth in Ravenna contains a spiral yellow brick road made of triangles, an obvious cross structure and due to the spiral movement we can clearly see that the underlying design is asymmetrical.
But the best part is that this labyrinth in Ravenna appears to be a match for Ulam’s spiral, Peter Plichta’s prime number cross, and the work of Anthony Morris who helps illustrate a connection between DNA and the prime number spiral.
It is clear from all three ‘maps’ that there is a distinct way in and out.
Anthony Morris’ DNA Prime Number Grid
Prime Numbers plotted on a grid – the Ulam Spiral
4th century Celtic Stone has ALL 3 Crosses of Christ represented in fact.
- TRIANGLE on ROD
- CELTIC CROSS or CRUSADER CROSS
So I ponder what the Spring Temple Buddha in China is ‘signifying’ at this stage in our ‘evolution’ where it might be true the creation has already been documented, its already been written?
And the best part is that Alice Bailey, the Greek Zodiacal Cross, Plato, and Aleister Crowley and ME all came to the same conclusions.
I clearly was lead by activating/using my intuition.
Nobody showed me anything.
Which means anybody can tap into this process of what Carl Jung called ‘individuation’.
The PoWeR of the mandala will be later explored.
My childlike ‘follow the dots’ doodling I found out later on was an intuitive match for Aleister Crowley’s interpretation of the same Greek Zodiacal cross.
So here is another link that discusses Alice Baileys book called Esoteric Astrology and the three crosses attributed to an ‘archetypal’ christ, NOT to be taken literally.
“The moon, from the angle of the esoteric knower, is simply an obstruction in space, an undesirable form which must some day disappear.” -Alice Bailey
“I feel the same way about the pentagram.”
Pentagram of course is connected in a profound way.
Pentagram contains the golden code within its architecture.
When I think pentagram my mind defaults to the golden mean, the golden ratio, Fibonacci numbers, the golden spiral, golden rectangles or simply just phi.
Bottom line…the TRUTH is that the Pentagram is a symbol to represent nature’s spiral.
And the best part is I link all of the foregoing to phi and a simple code easily remembered by any child.
1, 1, 2, 3, 5, 8 …. >> to infinity
And this simple code can be found embedded in the most popular Tarot deck ‘played’ with today.
The Rider-Waite Tarot.
Designed by a Freemason and a co-founder of the Golden Dawn.
11 8 2 5
So the CODE is clear to me.
It is found on CARD X of the Tarot depicting the 4 Gospels 11825
The following patterns were found in Matthew 1:18-25 recording the birth of Christ.
The Pattern of SEVENS in Matthew 1:18-25—The History of Christ’s Birth
- The number of words in the seven word passage is 161 (7×23 = 161)
- The number of Vocabulary words is 77 (7×11 = 77)
- Six Greek words occur only in this passage and never again in Matthew.
These six Greek words contain precisely 56 letters (7×8 = 56)
- The number of distinct proper names in the passage is 75
- The number of Greek letters in these seven proper names is 42 (7×6 = 42)
- The number of words spoken by the angel to Joseph is 28 (7×4 = 28)
- The number of Greek forms of words used in this passage is 161 (7×23 = 161)
- The number of Greek forms of words in the angel’s speech is 35 (7×5 = 35)
- The number of letters in the angel’s 35 forms of words is 168 (7×24 = 168)
Found in the Coptic translation of the 5th Gospel with the missing ‘3’ restored.
Found in so many places I am beginning to compile a lengthy list of ‘coincidences’ found here:
What size and shape is the labyrinth?
Much has been written about the exact size and measurements of the Chartres labyrinth.
Hermann Kern (Kern, 1982), for example, stated categorically that the labyrinth is elliptical rather than circular, 12.60 x 12.30 metres (41 feet 4 inches by 40 feet 4 inches). He based his statement on comments from Maurice Guinguand, who had presumably taken his measurements from the often-published overhead photograph that appears in many books. However, this photograph, taken through a small hole in the ceiling of the nave, where the vaulting ribs intersect, is not directly above the centre, but offset toward the entrance of the labyrinth. As a consequence, it will always appear slightly elliptical in any of these apparently ‘overhead’ photographs.
The exact size of the labyrinth has been the subject of some disagreement. W.H. Matthews said about 40 feet, Nigel Pennick and Lauren Artress say approximately 42 feet and Emanuel Wallet gives 13 metres, nearer 43 feet.
Actually the labyrinth is 12.887 x 12.903 metres (42 feet 3⅜ inches by 42 feet 4 inches) – an average of 12.895 metres (42 feet 3 & two-thirds of an inch) – with the longest axis across the line of the entrance to the far side, or top, of the labyrinth (1). This slight discrepancy from a true circle, although only a 0.0465 % error, might seem to support the claims that the labyrinth is slightly elliptical,
… but it is difficult to see that the original architects would have created this slight obliquity of ⅝ inch (1.6 cm) on purpose.
It would seem more likely to be the result of 800 years of gradual compression of the floor from the weight of the aisle pillars that line the nave, either side of the labyrinth, causing the individual interlocking stones that form the pavement to creep slightly inwards across the width of the labyrinth.
I am not sure I agree with what I have highlighted in italics.
The asymmetry I feel was part of the design from the very beginning of the design process.
These three symbols are fine representatives of MOTION, SPACE, and TIME.
and SPACE (cross @ rest) and TIME
Below we have an image of the 3 Crosses of Christ placed next to plasma physics ~ via the work of Anthony Peratt and Dave Talbot.
What do the 3 Crosses of Christ look like when stacked on top of each other?
I see a match made in heaven!
Clearly it does not matter how you want to express it, The Temple IN Man, The Temple OF Man, or perhaps as we continue inward on our journeys it becomes clear and we realize The Temple IS Man.
KEY 528=Swastika=ancient Spherical Standing Wave Theory
“A theory is more impressive the greater is the simplicity of its premise, the more different are the kinds of things it relates and the more extended its range of applicability…”