Here I am not referring to Freemasonry, but to the idea that there has been knowledge kept secret, spiritual knowledge, secret meditations and in particular knowledge of the secrets of art and architecture. After the age of the cathedrals, the Middle Ages, with the Renaissance, and up to the present, the development of humanity in the European tradition turned to the development of the intellect, reason, logical thought, as distinct from instinct and intuition. We have gained enormously from this development, and we can see with a clarity previously impossible, but a combination of ego and rationality has demanded an understanding which commands its subject. An illusory desire for reason to command all, meeting the fact that reason cannot command all, produces the concept of secrets, secret knowledge.
There is an essential knowledge, but it is not secret, just difficult to put into practice, so it is sometimes easier to hold the concept of secret knowledge, not available to me. There have been all sorts of ideas about secret schools preserving knowledge of architecture across the centuries, and this usually settles upon geometrical systems of proportion and composition. Harmonious proportions and number symbolism were used, and these harmonies are inherent in the human mind, and emerge naturally when composition is undertaken by a pure mind.
The search for secret knowledge is often promoted by people who are avoiding their own self discovery. There have been times when knowledge had to be kept secret from oppressive authorities - time when religious institutions were both decadent and powerful, but even then the real knowledge can be expressed in a way that communicates without offence. Maurice Maeterlinck, author of the play The Blue Bird, wrote his book The Great Secret about seventy years ago. He said that the secret had been openly expressed again and again, and it told who you really are, something quite simple, but entailing in its acceptance a certain sacrifice, of who you are not, THE EGO, a sacrifice many are unwilling to entertain, and, consciously or unconsciously, prefer to see the truth as hidden from them, requiring a profound search. Your search is hindered only by yourself.
The cathedral is also full of number symbolism, not the construction of a rational meaning out of numerical analysis, but from an underlying sense that every number, and particularly the numbers from 1 to 12 had a transforming meaning. One was the number of original unity, and two the number of the first division. The higher Three chakras was the number of the divine, and the lower four chakras the number of the world. Seven chakras, the sum of three and four, represented the steps or completed cycle from earth to heaven, and eight, the soul, the next, signifying rebirth and new life, and 12, chakras higher and higher , the product of three and four, God and the world, were all also important.
Chartres is full of threes and sevens. Apart from the threes The Trinity, inherent in the layout and height of the building, the transepts and the choir each have three bays, there are three portals, each with three doors. and three stories to each tower.
The trinity - The Sun Father, the Earth Mother and the Holy Spirit communicating between them.
At Chartres, there are seven bays, seven chakras, to the nave, seven bays between the crossing and the east window, and seven bays to the apse and ambulatory. The pilgrimage to Chartres, from the secular to the sacred, and the pilgrimage through Chartres, through the sacred to rebirth, can be seen as journeys of seven steps, with, like the chapels of the ambulatory, three principal aspects. Seven is also the number of the gifts of the body and the gifts of the soul, shown in both transepts. Chartres expresses a unifying and transforming symbolism in the very fabric of its architectural design. It was the first high cathedral with only three storeys, the model for all later cathedrals.
Internally and externally, height is a principal attribute, and not only height, but verticality. The whole design is expressed in terms of vertical lines. This is an enormously heavy stone building, which could have been expressed as stable and earthbound, but with all the stone masses expressed as bundles of vertical shafts, and with pointed arches formed like arrows to heaven, the emphasis is upward: gravity is transformed and the building leads the eye upward, an upward emphasis that is read psychologically as a spiritual ascent.
The secret meditations encapsulated in the Cathedral of Chartres is part of the Energy Enhancement Synthesis of Light twenty eight ancient and effective techniques to enable control of the mind, an enhanced IQ, control over all negative emotions, anger, fear, depression on the path of the ultimate Samadhi and enlightenment itself.
Director Satchidanand, is one of the leading teachers of Meditation.
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