Archive for the ‘Alignments’ Category


I’ve added a new video episode on London (10 min) at When I was studying Gothic cathedrals for the Chartres episode I was meditating on the connections between the Templars and St. Bernard de Clairvaux, who not only founded the Templar order, but was also the architect of the Cistercian order which greatly influenced the building of Gothic Cathedrals all over Europe in the 300 years following St. Bernard’s death. Following a hunch I drew a line from Bourges cathedral (which is about 100 miles away from Chartres) to Rosslyn Chapel in Scotland (said to be founded by the Templars).

In this video series I’ve uncovered a great deal by following hunches and drawing literal connections (as paths in Google Earth) between structures and holy places. This most recent line doesn’t prove to be any exception because it passes directly over the headquarters of Freemasonry in the UK, Wales, and much of the former British Empire in the City of London: the United Grand Lodge of England (UGLE).

UGLE is less than a mile from the Temple, the former Templar compound which was taken over by the Inns of Court after the Templars were raided on Friday the 13th, October 1307. The Temple contains Temple Church, the famous round church built by the Templars that was featured in Dan Brown’s The Da Vinci Code book and movie (shootout amidst effigies of medieval knights). Researcher John Smout’s analysis of the architectural floor plan of Temple Church reveals it was design Ad Quadtratum et Ad Triangulum, just like Chartres Cathedral. I see the three cubes in the design linking Temple Church with the George Washington Masonic National Memorial in Alexandria Virginia.

Looking at London’s urban fabric I trace the axis of Temple Church through St. Paul’s cathedral (redesigned by Sir Christopher Wren) to the Bank of England which was chartered during the construction of St. Paul’s. Directly below the Bank of England is street pyramid (truncated just like the Great Pyramid and the pyramids in the streets of DC and on the US $1 bill). The Bank is at the top just as is the House of the Temple in Washington DC.

Considering the many connections between the Bank of England, Temple Church (which was itself a depository bank and residence of kings and papal representatives), and St. Paul’s cathedral I show that the signs and symbols point back to the Vatican as where the real power lies. The London Stone is in the base of London’s street pyramid, the rock from which all distances in the UK were measured during the Roman occupation of England.

St. Paul’s itself proves to be part of the global interconnected mystery as its dimensions of 555′ encode the 6/5 relationship between macrocosm and microcosm (as 6660″=555′ matching the height of the Washington Monument). In addition the height of St. Paul’s is the solar 365′, matching the height of the Sun Tower at Chartres Cathedral.

I trace the axis in front of Buckingham Palace to Temple Bar, which once featured a gate designed by Christopher Wren. The significance of this alignment is not to be underestimated. I uncover some little-known legal facts regarding the Lord Mayor of London and the monarch’s relationship to the City of London that will have you pondering who is really in charge of the wealthiest square mile on Earth.

©2012 SIPS Productions Inc. – All Rights Reserved.

Chartres Cathedral

I’ve released a new 10 min video on the mysteries of Chartres Cathedral. Before the Italian Renaissance there was an earlier flowering of ancient knowledge in Medieval France. I believe what the Templars unearthed in the Temple Mount of Jerusalem was knowledge rather than gold. Knowledge they must have shared with the most famous preacher of the age, St. Bernard de Clairvaux. Bernard argued persuasively on behalf of these Nine Poor Knights of Christ’s at the Council of Troyes, and the Templar order was officially born.

The Templars didn’t have to pay any taxes, could pass freely through international borders, and were saved from all legal authority save from the Pope. That’s a meteoric increase in status for a few poor knights who had just recently returned from the Holy Land. What did these knights find buried in the Temple mount?

Whatever it was inspired St. Bernard to reintroduce the cult of Isis to the West under the veil of Mary. And what better place to do this than in a pilgrimage center that had been dedicated to the Earth Mother from time immemorial? After a fire burned down the old Christian church that covered this Druid grotto, a miracle happened. The Sancta Camisa (tunic worn by the Virgin Mary) was found unharmed in the smoldering ashes and this story catalyzed Medieval Europe’s interest in building the finest house of worship ever seen: what was was to become Chartres Cathedral.

Chartres Cathedral is a masterwork of hidden syncretism, melding belief systems that transcend Christian dogma. In addition to being a cathedral, Chartres was a school that reintroduced Pythagorean and Platonic thought to the West after a 1,000 year hiatus.

The floor plan was designed Ad Quadratum (shown by Australian architect John James) in a design based upon Roman architect Vitruvius’ written descriptions of ideal human proportions. Renaissance artist Cesare Cesariano’s Vitruvian man resonates with Chartres ground plan.

English professor of architecture Keith Critchlow discovered that the floor plan and western elevation were designed to interrelate; the rose window and labyrinth not only line up–they have have equal diameters. Even more amazing, the height of the Sun Tower is 365 English feet in height and the Moon tower is some 28 feet less. This metrology reveals Chartres is a calendar in stone (very much like the Roman Pantheon).

The Black Madonna and child (Our Lady of the Pillar) above the crypt hints at something older than Christianity. Both Isis and Mary were called ‘Queen of Heaven’, identified as so-called virgins who had unusual conceptions, and later had sons who symbolized the Sun who also shared the same birthday. Mary and Jesus are a retelling of the ancient Egyptian tale of Isis and Horus.

Chartres Cathedral is one of the most awe inspiring structures ever to be built by human hands.

©2012 SIPS Productions Inc. – All Rights Reserved.


I’ve posted a 20 minute video on Rome, one of the most fascinating cities in the world. It all started when I realized the word Peter means Rock. So I drew a line from the rock of Golgotha inside the Church of the Holy Sepulchre in Jerusalem to St. Peter’s tomb inside the Vatican (thereby connecting the two holiest spots in Christianity). The line passes directly over the equestrian statue of Marcus Aurelius at the center of the Campidoglio in central Rome, and also passes right over the tip of the largest Egyptian obelisk in the world, standing outside the Lateran since the time of Sixtus V in the Renaissance.

The Vatican itself seems to have been positioned in reference to this alignment/axis with Jerusalem. In addition the ancient Forum, the arch of Septimus Severus, the Umbilicus Urbis Romae (omphalos stone where all roads supposedly lead), and the Colosseum seem to have been placed in relation to this axis, which (see Jerusalem video) was a Temple of Venus before the Christian era, and long before that was a temple housing Adam’s skull (golgotha literally means place of the skull).

Sixtus V turns out to have been a very singular pope. First, I find it fascinating that Felice Peretti di Montalto chose a name for himself as pontiff that reflects both 6 and 5 in Sixtus V (see Egypt video for the amazing numerical significance). Although Sixtus V planned to relocate Jerusalem’s Church of the Holy Sepulchre to Rome he was never able to carry out such an outlandish fantasy. However Sixtus V did even more impressive things: he positioned 4 gigantic Egyptian obelisks within Rome to encode summer and winter solstice sunrises and built four fountains in the exact spot marking equinoctial sunrise when a line is drawn between it and the Vatican obelisk. Sixtus V’s tomb in Santa Maria Maggiore forever links his body with the astronomical alignments he set up in Rome. So why did Sixtus V go to unprecedented lengths to encode pagan solar alignments (not your typical Pope)? Perhaps because astronomy is a key to the ancient mysteries and Sixtus V acting as Pope was privy to these secrets.

I analyze St. Peter’s Square and discover it’s a solar symbol functioning on multiple levels. Bernini’s redesign of St. Peter’s Square resonates with the octagram star (see Washington DC Part 2 video), the ancient Egyptian obelisk at the center is the gnomon of an enormous sundial (marker stones were added in the 19th century), the two fountains flanking the obelisk represent the galactic mid-plane of the Milky Way, while the axis running through the Basilica represents the ecliptic. Solstices and equinoxes are marked by the diagonal paths. The cross on top of the obelisk mirrors the hieroglyph for Heliopolis (Egyptian City of the Sun) where the obelisk supposedly came from in antiquity. Finally the alignment between the Vatican obelisk and the obelisk in Piazza del Popolo marks summer solstice sunrise (mentioned earlier). St. Peter’s Square and more specifically the ancient Egyptian obelisk at its center resonates with the Sun in so many ways it’s mind-blowing.

What’s a trip to Rome without visiting the Pantheon? I analyze this ancient engineering marvel and find it functions as an unlikely calendar in stone. But you might be surprised just what calendar it encodes. I think the 7 niches once filled with pagan gods and later replaced with saints represent the 5 planets visible with the naked eye plus the Sun and the Moon. They are arranged in Ptolemaic order and encode the days of the week.

Looking up at the dome interior, there are 5 rising tiers of coffers in the dome representing the 5 visible planets. The 28 coffers running around the circumference represent days in the ancient month (invariably composed of four 7-days weeks). 13 such months of 28 days equals 364 days. I see the oculus or central void in the dome representing one extra day. A year and a day is all that is needed to complete the Sothic year of 365 days (without compensating for leap year as we do today). The 365 day year is called the Sothic Year and it is what the ancient Egyptians based their calendar on. Sothis is the Greek name for the star known today as Sirius, the Star of Isis.

The circle and square pattern in the floor is where things truly get mystical. If you inscribe a circle within a square the area in between the shapes measures 27.3% the total area of the square (which is another way of expressing the proportion 3:11). The Moon is 27.3% the size of Earth. In addition the Moon’s sidereal (star-to-star) orbital period is 27.3 days. Water turns liquid 273 degrees Celsius above absolute zero. Human gestation lasts 273 days on average. All is number.

I explore the Squaring the Circle diagram studied in the Great Pyramid video in greater depth and show how the Great Year of 25,920 years (Earth’s precessional period), the Isis diagram encoding Just Intonation in music, and the Osiris diagram encoding the Sothic Year all flow from the sacred geometry. Number expresses itself through geometry and music.

Moving up one dimension, I show how the Cuboctahedron is the 3D equivalent of the 2D Isis diagram. I trace the Cuboctahedron through history from its first depiction by Leonardo da Vinci, through its Renaissance association with Luca Pacioli and Albrecht Durer to the musings of 20th century thinker Buckminster Fuller and 21st century physicist Nassim Haramein. I show how Haramein’s physics are based on the Cuboctahedron. The unique geometrical balance of Cuboctahedron keeps the unbelievable energy potential in “empty” space in equilibrium so perfectly that we don’t think anything is there. Haramein shows how the vacuum (or so-called nothingness) has a structure based at the core on the Cuboctahedron. There is therefore no such reality as “nothing” anywhere in the universe. Haramein’s vacuum structure resonates with the Flower of Life and Metatron’s Cube (see Washington DC videos). Modern physics is indeed catching up with ancient knowledge.

©2012 SIPS Productions Inc. – All Rights Reserved.

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