The Sistine Chapel: a Study in Celestial Cartography: The Mysteries and the Esoteric Teachings of the Catholic Church

Copyright © 2012 by William John Meegan.

Library of Congress Control Number:         2012921392

ISBN:                 Hardcover              978-1-4797-4949-2

                           Softcover                978-1-4797-4948-5

                           Ebook                    978-1-4797-4950-8

All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without permission in writing from the copyright owner.

To order additional copies of this book, contact:

Xlibris Corporation

1-888-795-4274

www.Xlibris.com

Orders@Xlibris.com

116218

CONTENTS

Caveat To The Reader

Abstract

The Genesis Of This Work

What This Work Attempts To Accomplish

Preface

Foreword

What Is Esotericism? A Brief Clarification

(1) An Overview Of All Symbols, Images And Frescoes

(2) The Six Concentric Circles In The Floor’s Mosaics

(3) The Frescoes On The Four Walls86 And The Millstone Of Time

(4) The Frescoed Popes

(5) Bereshith: In The Beginning And The Kamea Of Saturn

(6) Michelangelo105

(7) Jerusalem And The Dawn Of Christianity

(8) The Sistine Chapel And The Soul/Psyche’s Raison D’être

(9) The Sistine Chapel And Chartres Cathedral:

(10) The Sistine Chapel And The Empyrean

(11) The Basic Design Of The Ceiling

(12) A Preliminary View Of Some Of The Ceiling’s Fresco Scenes

(13) 72-Nude Figures (Schemahamphorasch)

(14) The Prophets And The Sibylline Oracles

(15) The Ancestry Of Christ

(16) The One Third And Two Thirds Design

(17) Assembling The Patterns On The Ceiling

(18) The Nine Central Panels: The Spine Of The Ceiling

(19) The Nine Central Panels: The Spine Of The Ceiling

(20) The Prima Materia: Creating The Kamea Of Saturn And The Wandering Planets

(21) The Genesis Formula And The Second Coming Of Christ

(22) The Sistine Chapel And Genesis A Comparative Analysis;

(23) Classical Mythology

(24) Cathedra Petri: The Chair Of Peter

(25) Conclusion

Appendix 1

Appendix 2

Appendix 3

Appendix 4

Appendix 5

Appendix 6

Appendix 7

Appendix 8

Appendix 9

Appendix 10

List Of Diagrams

Bibliography

Endnotes

CAVEAT TO THE READER

To truly comprehend the Esoteric Science as introduced and outlined in this work the reader is going to have to comply with the indicators on the page conscientiously. The indicators are: ENDNOTES, DIAGRAMS and APPENDIXES; thus, by the time the introductory chapters are completed almost two thirds of the volume would have been studied before turning the page on the first chapter of the book. Upon completion of the introductory chapters the reader will be fully prepared to understand the symbolism being discussed concerning the symbolic imagery in the Sistine Chapel in the final 138-pages. If the reader does not prepare him or herself as suggested above reading this work may result in confusion and frustration at not being able to follow the text. This volume was deliberately written in this manner to cull out those that are not mystically attuned to the science of the soul/psyche.

The Esoteric Science is so revolutionary to modernity’s way of thinking that academia is only beginning to learn about it. The Esoteric Science is nothing new under the face of the sun; however, the spirit of this age is only beginning to learn about its highly sophisticated and scientific format by studying the literature, artworks and monuments of antiquity that preserved it for the future as modernity will in due course preserve it for posterity.

Dedicated to God’s departed

Angel and my dear Friend

Anne Marie Lonsky

"Elohym created Adam in His own image,

In the image of Elohym created He him,

Male and female created He them"¹.

ABSTRACT

The unanimity of all the frescoes and symbolic imagery on the floor, walls, and ceiling in the Sistine Chapel give off recognized patterns that exude the story of celestial cartography from a spiritual, symbolic and esoteric point of view². The circles of angels from the Prima Materia, Shemhamphorae (72-angelic names of God) and the pattern of the Zodiac/Calendar year are several symbolic designs illustrating the art of celestial cartography emanating from the ceiling of the chapel.

The story of God in the divine creative mode is narrated by the fresco imagery that radiates out from the Prima Materia (central nine panels) blanketing the entire ceiling to flow down the walls to concretize in the floor’s mosaics. The ancestors of Christ, the frescoed popes as mediators between the earthly and heavenly frescoes positioned between the windows that brings natural light to the chapel, the arrangement of frescoes outlining the life of Christ and Moses from birth to death and the laity that visit the Sistine Chapel to partake of the Divine Word (Eucharist) are several sequenced prototypes from the top of the walls to the mosaics in the floor used by Michelangelo Buonarroti to array the fresco of the Last Judgment on the altar wall. The Last Judgment fresco is a commentary on the several patterns exhibited collectively on the other three walls. Essentially the imagery in the Sistine Chapel is a symbolic and frescoed treatise on the first letter (BETH), first word (BERESHITH), first verse and first chapter of Genesis from a mathematical and Kabbalistic perspective.

In addition the measurements of the floor, walls and ceiling: height, length and width of the Sistine Chapel suggest an even more complex interpretation then previous analysis has suggested, which leads into the very heart of creation. A heretofore unknown sophisticated knowledge of astronomy is revealed: even to suggest knowledge of the galactic core. All of this will be demonstrated to have been used to symbolically illustrate God’s creative process simultaneously sending a missive to the soul/psyche.

In a very real sense the analysis of the Sistine Chapel explains how to read and write the sacred scriptures esoterically. The mathematical science introduced in this work is fully explained in the main text, numerous illustrations, ten appendixes and endless endnotes. There are five enigmatic and hermetically sealed proofs presented in this work to illustrate the versatility and plasticity of the esoteric science to be sculpted into any mythology or storyline future artists and authors put their minds to. These five enigmatic and hermetically sealed proofs that are inexplicably bound to each other by the esoteric science, though each is separate, distinct and independent of the others, are: 1) The Universal Mathematical Matrix: Prima Materia, 2) the analysis of Dante Alighieri’s La Divina Commedia’s compositional structure, 3) the analysis of the first chapter of Genesis, 4) the analysis of the frescoes and symbolic imagery in the Sistine Chapel and 5) a comparative analysis of the Sistine Chapel with the symbolism permeating Chartres Cathedral.

This is a revised version and a complete overhaul of the initial academic paper submitted on the Sistine Chapel’s Celestial Cartography first peer-reviewed and published by the Rose-Croix Journal in June 2006. The new patterns and analytical materials derived from a reanalysis of the floor, walls and ceiling, over the past six years, required a reissuing of this thesis in book form.

THE GENESIS OF THIS WORK

At the young age of twenty-six (1974) amidst a tumultuous period I asked God to lighten the burden of life and if possible: ‘make me an instrument of thy peace’. This is what Saint Francis of Assisi asked of God in his youth. Would God grant me the same request? Yes, I believe He has³.

At this time of my life I knew very little about the Catholic Church and its teachings⁴ and absolutely nothing of its theology; yet, I set myself the task to understand the sacred scriptures as the Catholic Church teaches: its entire contents, it imparts, is symbolic. As the years flew by I learned a little here and a little there and bit by bit a database of information was accumulated suggesting a heretofore system of knowledge modernity knows nothing of. Every single word of the sacred scriptures is symbolic as is every word of the vernacular written and spoken by the individual; however, these two systems: the esoteric texts of the sacred scriptures and the written and spoken word of the vernacular are diametrically opposite to each other. The esoteric text is a detailed contemplative and well thought out mathematical and symbolic script scribing the Word of God tersely and succinctly; whereas, the verbosity of the vernacular is written and spoken extemporaneously without any mysterious esoteric patterns in the individual’s thoughts⁵ while communicating with another. Who was there, at the beginning, to teach me other than the spirit that was within me: I learned quickly, that ‘knowing within’ is a one on one relationship with God, I have been graced with, since I have acknowledged His sovereignty over my life.

This of course meant spending the bulk of my energies: translated into earned monies, to purchase books, videos, DVDs, CDs or by whatever means⁶ accessible to grasp what the Word of God, as it is outlined in the sacred scriptures esoterically, is saying; however, the greatest asset I had in conducting these personal researches on the Word of God was the sacred scriptures themselves. Every time I went back to studying and meditating on exactly what the sacred scriptures has to say esoterically I learned more than what the peripheral works from the religious and secular mediums have to say; yet, this was a very difficult lesson to learn⁷ even though I caught onto this divine edict in the early stages of my researches.

That in itself is quite a paradox; however, I quickly realized that unless I taught myself Hebrew⁸ and studied the texts of the Old Testament from that perspective I would not be able to study the Word of God correctly: much if not 99.999… % of its message is lost in translation⁹. The idea that the Word of God can be understood in the vernacular (any translation) is ludicrous especially when one realizes that each letter of the Hebrew text has a symbolic and an alphanumeric designate; as a consequence, each word of the text has far more meaning than the sum of its letters¹⁰. It did not take long to understand that by studying the Hebrew texts (Old Testament) and/or the Greek Texts (New Testament) that there were mathematical patterns and geometric images throughout. A word can have many layers of conceptual meanings, which is determined by its own symbolic and alphanumeric letters and the context of its surroundings texts: also a word can actually have several geometric images structured into it. A number of words or verses can form conceptual ideas and/or geometric patterns. The sacred scriptures became a world of discovery that had not seen the light of day since the days of the Alchemists in the sixteenth and seventeenth centuries.

In these past 38-years, I had neither Church’s personnel¹¹ nor another other than God guiding my hand in these researches.

This particular work on the Sistine Chapel began at a wake. I had previously done some minor work on the Sistine Chapel but having done that initial work I did not believe I would seriously revisit its symbols and frescoes again; however, I had received a book on the fresco painted by Michelangelo on the ceiling, in the mail, the day of my friend’s wake. I was glancing over the texts and illustrations when I came to the panel of The Expulsion and Temptation of Adam and Eve from the Garden of Eden [DIAGRAM 28] when I was literally startled by what I was seeing in that frescoed scene. There were two serpents¹² wrapped around the tree rather than one: this went diametrically against all I had been taught about the Adam and Eve story. This pointed to a whole new theological slant to the sacred scriptures. I had already conducted a great deal of mathematical studies on the symbolism and mathematics of the bible and Dante Alighieri’s La Divina Commedia [APPENDIX 5]; nevertheless, here was something completely different from my previous experience on the Church’s artworks. The discovery of those two serpents in that frescoed scene sent me off into studying the entire chapel’s symbolism with a renewed vitality. With books, videos and especially the Vatican website on the Sistine Chapel I literally had unfettered access to the history, the building and the symbolic imagery of the chapel.

I wrote an academic paper with the same major title as this volume: THE SISTINE CHAPEL: A Study in Celestial Cartography, in 2006, and it was accepted and peer-reviewed by the Rose+Croix Journal: an online academic publisher. I am not an academic but I believe the paper was accepted because of the demonstrable evidence in the form of the mathematical patterns I discerned in the chapel that were never discussed by past or modern art historians; furthermore, I had linked esoterically the Sistine Chapel’s artwork as a commentary on the first chapter of Genesis.

Over the years, since that publication, there were many other patterns discerned and this additional material accumulated to such an extent that the paper published online was no longer a viable medium to represent my comprehensive thought on the esotericism of the sacred scriptures, Sistine Chapel and some of Catholicism’s great artworks. It was time to revise this paper and reissue it in book form.

For the longest time I had tried to advance the idea in my researches that the UNIVERSAL MATHEMATICAL MATRIX: Prima Materia¹³ [APPENDIX 3] was the principal archetypal model used, by the scribes of antiquity, to structure the wording of the first chapter of Genesis; in writing esoterically in the vernacular, the message of the matrix; however, I got no further than finding its graphic images: the Kabbalistic Tree of Life and the Star of David [APPENDIX 2], esoterically codified to its texts.

In revising this work it came to me that if I was to take my esoteric knowledge of the matrix, the Genesis Creation Account, Dante Alighieri’s mathematical system [APPENDIX 5], the symbolism of Chartres Cathedral and the Sistine Chapel’s symbols and frescoes and do a comprehensive comparative analysis on all five venues simultaneously I would have a far better understanding of the deeper nuances of the esoteric science as it related to Catholicism’s artwork. This enabled me to look at the matrix when reading the first four days of creation and discovering that the wording of the text of Genesis precisely describes the nuances in the matrix from different perspectives. Then in viewing the Sistine Chapel’s nine central panels in the spine of the ceiling it became obvious that the designers of the ceiling-wide fresco followed the mandates dictated by the matrix and the Genesis Creation Account. In addition in reviewing the symbolism of Chartres Cathedral in relationship to the matrix and the Sistine Chapel symbols and fresco system numerous nuances were discern that would have been completely overlooked.

A reevaluation of all the concentric circles emanating from the spine of the ceiling to the frescoes depicting the lives of Moses and Christ revealed a stunning example of the Genesis Formula, which will be outlined and discussed below. This reevaluation is a comparative analysis between what the chapel displayed symbolically before the removal of all the art work on the Altar Wall and what replaced them: the Last Judgment fresco [APPENDIX 1]. The contrast between what was originally there to what is now present symbolically imitates the first day of creation esoterically in artistic form. This analysis corrected some previously ill-conceived ideas and brought forth some spectacular new ideas and patterns.

Recently in August 2012 as I was preparing the final touches of the manuscript for publication another astonishing idea presented itself to me concerning Michelangelo’s role in the Sistine Chapel. From my perspective anyone could have frescoed the ceiling and the Last Judgment frescoes since their designs and symbolic content was not conceived by Michelangelo but rather the designers of the chapel developed them. If Michelangelo was actually a living breathing human being, and not just a mythological figure in history, he was chosen for no other reason than his name: Michael the Archangel vanquished Satan; thus, Michelangelo was brought into the mythos of the chapel symbolically as a mystical interpreter. Around the central hub of ceiling [nine central panels - spine of the ceiling] are the twelve signs/months of the Zodiac/Calendar year; realistically, nothing else exists on the ceiling other than those nine central panels. I realized that the twelve frescoes beneath the popes in the life cycles of Moses and Christ in one way or another mirror images the twelve signs/months of the Zodiac/Calendar year [APPENDIX 9] very similar to how the Last Judgment is a commentary on the other three walls. The twelve frescoes in the life cycles of Moses and Christ was frescoed first forcing the mandate of Christ: "Whatsoever you bind on earth will be bound in heaven, and whatsoever you loose on earth will be loosed in heaven (Mathew 16:19)": as a result symbolically making the Sistine Chapel the pope’s chapel since this statement by Christ was made directly after the keys of the kingdom were handed to Peter.

It should be stated unconditionally that the concepts presented in this work concerning the foundations and fundamentals dynamics of the soul/psyche are not mere mythological and/or imaginary religious ideas; rather, they are actual psychic laws/instincts that structure and governs every single activity of the soul/psyche. This initially will be extremely difficult for many to comprehend because no one has spoken of the soul/psyche in modernity in this manner with the exception of Carl G Jung (1875-1961) the renowned psychoanalyst.

From my perspective I have found that the theories and ideas developed by Carl G. Jung were codified esoterically into the texts of the sacred scriptures of the world thousands of years ago. Jung rediscovered those ideas and theories for the modern age not knowing they were codified esoterically to the sacred scriptures. CG Jung did not know of the existence of the esoteric science codified into the sacred literature of the world and though he knew of the spiritual proclivities of the soul/psyche he personally would not speak too much about religion in fear that he would be called a mystic. He wanted the psychology he was developing to stand on its own merit and his task was indeed Herculean. It was a great boon to mankind that CG Jung worked in the manner in which he did because if he had tried to venture into religion with the science of psychology he would have made a mess of it for anyone to follow. Thus, today his ideas and theories can be placed side by side with those esoteric teachings that come directly from the Judeao Christian scriptures. Of course the works of CG Jung are not the end all and be all of what can be known about the soul/psyche. His students are still developing techniques to understand the intricate nature of the human psyche. I personally believe that it will take at least another century¹⁴ before Analytical Psychology will fully understand the mathematics of the Universal Mathematical Matrix: Prima Materia in relationship to the psyche and the mythology the sacred scriptures used to discuss esoterically the science of the soul/psyche in relationship to its true spiritual heritage. When this esoteric science is fully developed in the future man will be able to create new mythologies and monuments to codify the esoteric science to; thus, preserving the science for posterity as our forefathers did for modernity.

It will take a while for modernity to acclimate itself to these seemingly implausible ideas concerning the sacred scriptures and its relationship to the soul/psyche; nonetheless, in due course humanity individually and collectively will get to ‘Know Itself’ once again

WHAT THIS WORK

ATTEMPTS TO ACCOMPLISH

This work attempts to pierce the veil of the Christian mythos: it is not about what the world and modernity thinks it knows about religion (in fact it is best if you forget all that you think you know about it); rather, it is entirely about what modernity does not know about the soul/psyche. It is quite true that as finite beings humans really cannot speak about God in His empyrean. At most all that can really be known is that God protects each and every soul/psyche from the external tyrannical forces that rule the world (the imagination of the soul/psyche).

Continuously I visualize; in the Word of God, in both the sacred scripture and Catholicism’s artworks the questions and answers as to why the soul/psyche is in the world, how it arrives there and the means by which it can extricate itself from its tyrannical forces. Truly, there is no other reason for the existence of religion other than to edify the soul/psyche as to its spiritual origins and its present plight while existing in the material world.

The individual walking down the street or children playing or factory workers assembling a car or whatever one’s activities may be in the world: each individual goes placidly through life, going about his or her business, doing his or her everyday mundane chores, is being described tersely and succinctly in the sacred literature and artworks of the world on a totally esoteric and symbolic level. Each and every individual on the face of the earth is not thinking about religion nor the dawn of creation; nonetheless, the sacred scriptures are describing precisely what is taking place on a mystical and symbolic level in each soul/psyche on a generic level and the world as a whole is completely unaware of the eternal spiritual laws that mandates its individual and collective decisions.

This work talks about the discovery of the esoteric science [APPENDIX 6], found in ancient art and literature, that outlines the paradigmatic principles, which speak of the spiritual protocols that traps the soul/psyche in [or releases it from] the material plane of existence. The soul/psyche upon entering the world is essentially furnished with a handbook: a direct missive from God on how to live in the material world. This handbook is the Word of God, which has been translated into all religions on earth. The missive of God is not the religions set up to explain the missive: it is the esoteric science codified to the wording of the text or artwork coupled with the mythology laid out in the literature and/or artwork: it is what emanates from the storyline and the esoteric science that produces the end product: the Missive of God. It was the collective comparative analysis of the symbolic and mathematical structures of the sacred scriptures, Dante Alighieri’s La Divina Commedia, the Sistine Chapel, Chartres Cathedral and the Universal Mathematical Matrix, which revealed the esoteric science codified to Christian literature and artworks. It is this collective comparative analysis that reveals the governing protocols that oversee and make obligatory the activities of the soul/psyche throughout time and eternity: the soul has no say in the matter it will obey those laws; voluntarily or involuntarily.

My objective in writing this work is to explain, as clearly as possible, how the soul/psyche builds his or her personal Solomon’s Temple without even knowing that process had taken place nor has any idea as to what Solomon’s Temple is. If one reads the Judeao Christian scriptures thoughtfully, bypassing personal extraneous thoughts he or she will see that is all the Holy Writ actually speaks of on a totally symbolic level. It is an inexplicable thing this Solomon’s Temple, which the individual cannot live in the world without. Desperately each soul/psyche will attempt to flee it: in fact it must be fled from for nothing is more tyrannical in the experiences of the soul/psyche than the mandate imposed upon it than those edicts issued from Solomon’s Temple.

The reader should be able to recognize the conundrum just outlined in the last paragraph. The individual creates Solomon’s Temple only to become dominated by it. The reason for this is because there is a lone set of opposites in the world, which the Old Testaments named Yahweh (Sun = ego-consciousness) and Elohym (Moon = Shadow: unconscious), which all other opposites in existence imitate or symbolically represent. Yahweh is a fixed idea; whereas, Elohym is somewhat omniscience. It is the merging of these two contradictory concepts that create Solomon’s Temple; thus, the reader can tentatively envisage what the mystery of life is. Each individual picks and chooses his or her likes and dislikes in this smorgasbord world. Yahweh mandates those likes and dislikes as the Garden of Eden: Solomon’s Temple and wants the individual to experience his or her choices eternally; whereas, Elohym offers alternative and mutable solutions. This is easier said than done because those alternative and mutable solutions are not readily available to those trapped within the vows and/or purchases that the soul/psyche has made in life; thus, Yahweh (Jachin) and Elohym (Boaz) represent the two columns flanking the door to Solomon’s Temple.

The only thing that can save the individual is the destruction of Solomon’s Temple and the only thing that can cause that process to come about is the crucifixion of Christ. It is the death of Christ that rends the curtain in the Holy of Holies in Solomon’s Temple, which effectively destroys the temple. It is in that very moment of destroying the old temple (old heaven and old earth) that simultaneously a new Temple of Solomon (new heaven and earth) is being created. In the case of Christ’s death, as narrated in the New Testament, it was the destruction of the Jewish temple build by King Herod that brought about the birth of Christianity; however, in the soul/psyche when this takes place it is a new paradigm that has been introduced in the life of the individual and is now in play creating the new Solomon’s Temple; however, Christ ascends back into the Kingdom of God for his life and work on earth was completed in a nanosecond. The entire life of Christ on earth took place in a nanosecond from the Annunciation to the Ascension. The New Testament scribes merely stretched that nanosecond into 33-years illustrating symbolically the divine and eternal process of salvation.

To any bystander looking at another individual that has experienced the Second Coming of Christ in his or her soul/psyche that has been cured of his or her malady and/or has straightened him or herself out in life this may appear to be dreary everyday mundane stuff because people are said to change for the better all the time. And I do agree with that assessment because everybody in the world for the most part individuates to the person he or she is supposed to be. I am not speaking in this work about the individuation¹⁵ process; rather, what I am speaking of is what Catholicism calls the Eucharist¹⁶ and CG Jung called the Transcendent Function.

It became quite apparent to me throughout the many years of my researches that the Judeao Christian Scriptures: Old and New Testaments and other Christian literature and art forms were not the original source materials for the divine inspiration that scribed or created them; rather, they are all peripheral documents: secondary sources as commentaries on the Universal Mathematical Matrix: Prima Material [APPENDIX 3], which is the original source derived from the MONAD¹⁷. In fact all sacred religious texts around the world are commentaries on the MONAD. It is with this final influx of inspiration that I submit this work to all that are interested in these esoteric matters.

PREFACE

In the long history of the Catholic Church¹⁸ there have been behind the scenes a Mystery School¹⁹ covertly creating great monuments of art and literature for the purpose of rewriting the sacred scriptures: the Word of God, in as many different art forms as possible, to educate and edify those that are most sensitive to its mysteries and mystical teachings. It matters not to me who these Mystery School initiates are who covertly create these spiritual artworks; however, they do exist and their works are demonstrable evidence of their existence. I need not point out who they are for I don’t know nor do I care who they are. I care only about obtaining knowledge of God.

In all the years that I have been conducting my researches: 38-years (one grand Luna Cycle) I have found that by studying the original source materials (the matrix and the sacred scriptures), not necessarily what others have to say about them, I have been able to envisage a great deal more about them. Such personal researches are on par with a one on one relationship with God and few indeed would venture down that road because of what the world would have to say about such aberrant behavior²⁰. In the long two thousand year history of Christianity I have found at least five times that Christians (laity²¹) have basically lost their religion and had to rediscover it at some later date.

1. From the dawn of Christianity to the time of Constantine the Catholic Church was in turmoil because there was no standardization to the Christian literature of the age²². Christianity was basically digressing into utter chaos very similar if not the same as the present plight of modernity. No one knew, for the most part, what true Christianity was all about because a new Gnostic²³ gospel would appear on the scene almost on a daily basis or at least this is the historical mythos, ‘pabulum for the masses’, that has come down to modern times. It is said that such gospels were written by neophytes that did not have the years of experience to even attempt such a task and yet they were drawing converts by the multitudes. Christianity was in such a state that it was in near collapse; thus, from the beginnings of Christianity the true nature of Christ’s teachings was known but as time went on Christianity began to fail because there was no hierarchy or institutionalization of the Church governing its congregations with bylaws nor was there any standardization of its teachings and/or literature. As a consequence Christianity became a nightmarish battlefield against pagan idolatry and it was a toss-up as to which would be the victor²⁴. In reviewing these historical accounts concerning the origins of Christianity a comparative analysis can be drawn up between modernity and the first centuries in the Common Era: there is symbolically no difference between the two historical periods: Christianity in modern times needs another Constantine.

2. In the 4th century along comes the mythos of Emperor Constantine. I am not too much of a believer of history or what historians have to say about it. I tend to look at the results. What is it that this individual was supposed to have accomplished? Take all of the pomp, ceremony and ritual away and tear down the tinsel and the frills and what remains? Note the word CONSTANT in the name Constant-ine. The word CONSTANT infers ‘standardization’ and what did the Nicaea Council accomplish but standardization: the canonization of the New Testament. I doubt seriously if the man Emperor Constantine actually existed especially since many of the dates noted in his historical relationship with the Church esoterically coincides with Christianity’s mystical teachings. The very concept of rules and regulations being systematized and perpetual through time is symbolically KING or EMPEROR in the minds of the hierarchy of the Church. For some centuries after Emperor Constantine the long winter of the Dark Ages on the European continent reign supreme to the point that civilization reverted to pure barbarism. Reading, Writing, Arithmetic, industry, art, trade and all knowledge of Christianity was lost. It is almost as if modernity is the second coming of such a Dark Age. Only a handful of monasteries out of thousands remained to pick up the pieces during the Medieval Period. Imagine if one wanted to create a new religion one would start from such a clean slate such as just described. Here is where the mythos of Constantine enters the fray.

Such structuring as in standardization is a basic archetypal pattern, which is replayed over and over again in the soul/psyche. This is similar to any invention turned into a commercial product. Others get a hold of a new idea and a variation on the theme is developed where each version cannot interact with the original or any other like products until laws enforce standardization such as in the computer industry; however, the human mind always wants to reinvent the wheel and thus the product regresses into a plasticity where it is a ghost of its creator’s intent. Look how Hollywood does a downsizing of the author theme and/or does a degenerate version of a previously well-made movie. There is no way to change the instinctual patterns (archetypes of the collective) that will play out through time and eternity. I am here merely pointing out why ideas and concepts disintegrate into the mist of chaos.

Note how secular governments, around the world, tries as they may to follow the civilization techniques of religion attempting to make them their own. The trouble is that the State tosses out the baby with the bath water and religion is laugh out of the equation and the end results looms before us in the news cycles of each day. I am not referring here to the urban plight but rather to the no-conscious and immoral governments going to war for no other reason than to rape the planet of its resources and to create cheap labor markets around the world. The reasons for war are always the same: turning the other country’s leader into the bogey-man ready to pounce; thus, the justification for the wholesale slaughter of hundreds of thousands of innocent civilians to obtain their lands, mineral resources and their country’s labor force.

3. The Cathedral Builders²⁵ came out of nowhere in the 9th thru the 14th centuries and beyond building about a thousand Cathedrals and Churches across the landscape of the European continent. The cathedral was basically a Mystery School. Chartres Cathedral was one of them and its reconstruction began in the late 12th century. Chartres Cathedral is considered the greatest of all the cathedrals of Europe. I found Chartres to be completely structured esoterically as a commentary on the first chapter of Genesis; however, this was long after my initial work on the Sistine Chapel. Sometime after Chartres was built Dante Alighieri wrote his La Divina Commedia [APPENDIX 5] in the beginning of the 14th century between the years 1300-1321, which was also esoterically codified as a commentary on the Universal Mathematical Matrix: Prima Materia [APPENDIX 3] and the first chapter of Genesis. Dante Alighieri’s work was the first that I was able to discern a complete undistorted esoteric science codified to Christian art without loss of integrity by the ravages of time.

4. Then in the mid-15th thru the mid-16th centuries comes the building and frescoing of the Sistine Chapel and the building of Saint Peter’s Basilica: both were esoterically structured as commentaries on the first chapter of Genesis. Then the REFORMATION came with its literalism and fundamentalism, which can be pointed to as the dawn of a new and more devastating Dark Age than the previous one. A Dark Age that still ravages the whole world to this very day and modernity knows nothing of it.

5. Finally, in the 17th century the alchemical work called the ROSARIUM PHILOSOPHORUM was written and was accompanied by 20-woodcut carvings, which when analyzed is demonstrated to be an esoteric commentary on the first chapter of Genesis. Writing this Alchemical work took place in the milieu and very depths of the darkness in the REFORMATION period. Alchemy is not considered Christian but I beg to differ because of the nature of its commentary so evident in the woodcut carvings. Here in the twenty-first century Christianity and other religions, blanketing the entire planet, are in such a DARK AGE that few witness true spirituality.

Of course I have not study all of the art works, literature and monuments of Christianity before, during or after the Renaissance. The works mentioned above came to me serendipitously as if God had placed them in my path of research. I can claim nothing more than being an opportunist. I saw mystical nuances in these works at different periods over the span of my researches and recognized the potential for them having been codified esoterically. With foreknowledge of what the esoteric science is, after years of researching it, and learning what its basic mandates are, from the perspective of the Christian mythos, it is not difficult to envisage its mystical structure in different Christian art forms.

I have by no means perfected knowledge of the esoteric science or I would be able to write a gospel or create another art form esoterically codifying its mystical intricacies as commentary on the first chapter of Genesis. My destiny is not to write a gospel but rather to demonstrate ‘somewhat’ how Christianity created its art forms. I was apparently gifted with pattern recognition and the ability to demonstrate those patterns; however, I have to work ‘in reverse’ to envisage how the esoteric science was codify to Christianity’s many art forms and this is done fragmentarily and chaotically but most of all serendipitously. Line upon line, here a little there a little and the esoteric science begins to come together, taking form, revealing itself in an intelligent and scientific format. What I mean by working ‘in reverse’ is similar to the goal of an archeologist; however, my task is somewhat easier than the archeologist because I know from the outset that the ancients scribes that created these art forms had an understanding of science that makes modernity look like it is shaking baby-rattles²⁶ in comparison. The archeologist on the other hand comes into the fray also with a preconceive notion for he or she understands the ancient peoples were barbaric and primitive savages. The archeologist²⁷ also is at a very great disadvantage because he or she is basically working from a scrap heap: chaos at best; whereas, I am working with a very sophisticated science before me in the form of literature, art works and monuments, which are the completed products of its scientific system of thought. Like a little child with a new Christmas toy I have to mentally disassemble it and then reassemble these art forms via detail analysis attempting to understand exactly how the scribes were creating these art forms as commentary on the first chapters of Genesis. The esoteric science is not a cookie-cutter system of thought where all is put on an assembly line and there are clones across the Christian landscape. On the contrary each art form takes a section of the first four chapter of Genesis and/or any part of the Old and New Testament, which in fact duplicates the pattern of the first letter and first word of Genesis symbolically countless times throughout and structures the proposed art work esoterically from that perspective. In other words each artist is not to duplicate the efforts of a previous artist but rather to use the esoteric science in an entirely original and unique way²⁸ to him or herself. This is the difference between the factory ‘assembly lines’ of the industrial age and the unique inventiveness of the religious mind. This is why the Old and New Testaments is such a large library of mystical works. In ancient times the inventiveness of the soul/psyche was encouraged; however, to be an author of the sacred scriptures the new work had to be an esoteric continuation of the previous scriptural works.

I have been very fortunate in having analyzed several Christian art forms, as mentioned above, to a certain degree and because of this previous research I am able to play off my knowledge of each of their esoteric structures to cue me in on different nuances found throughout each of them. This has made my analysis of each somewhat less burdensome; however, it is still extremely difficult to forge the path ahead in understanding this esoteric science.

FOREWORD

The Sistine Chapel is the pope’s personal chapel and it houses some of the most revered artwork in the world. Few indeed over the centuries have actually studied this artwork with any degree of mystical and/or spiritual intensity. To read the historical accounts it would seem as if each fresco was separate and distinct from all other frescoes in the chapel as if each was created at the whim of the artist. Nothing could be further from the truth. Prior to the building of the Sistine Chapel the project was already completed down to the last minute detail: from start to finish the measurements and the unanimity of all the symbols and frescoes were determined before the cornerstone was laid. Even the destruction of the Altar Wall and its reconstruction to fresco the Last Judgment was predetermined.