We will now examine one more aspect of Egyptian philosophy from a purely feminine point of view, from the way the Left Eye of Horus Mystery School would see it. What follows can also be seen as proof that the Egyptians knew about the Flower of Life and lived it.
We're going to unfold the Flower of Life in a completely different way than we did before. We're going to look at it in a right-brain feminine way rather than a left-brain mas-culine way as we did earlier. It will not have a male logic as it did before, but a female logic.
We will begin, as we did earlier, with the Flower of Life [Fig. 10-23]. There's a certain image inside the Flower of Life that we will bring out. If you remove the Genesis pattern and put a circle around it, you get this image [Fig. 10-24]
Then after you take out the four circles on the top and bottom of the large circle, you get this image [Fig. 10-25]. As you can see, this image is de-rived from the Flower of Life.
Now, once we have this new image, we're going to use it over and over.
We'll take the image of the two circles and make half-size cir-cles inside the medium-size circles [Fig. 10-26]. We keep making half-size cir-cles in each of the small-est circles, until we have Figure 10-27.
Remember the zona pellucida and the egg? Re-member how the egg first went within itself to under-stand how life works, then when it got to the morula stage, or the apple shape [see page 192], it
r~4- 10-25. Two circles circumscribed b* a large circle.
Fig. 10-23. The Flower of Life
Fig. 10-26. Doubling the circles. Fig. 10-27. A string of circles.
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Fig. 10-28. Sine wave going beyond itself.
Fig. 10-29. A circle, the basic pattern.
Fig. 10-30. Seven circles in one.
went out beyond itself? I would like to show you this same idea geometrically. This pattern you see in Figure 10-27 is in a binary sequence; you have 2 circles, then 4, 8, 16, 32 and so on. When the egg first went within, it did so geometrically. So geometrically, you can go into a pattern to discover how it can go beyond the pat-tern. You can go within a pattern to see how the sine wave works in order to go beyond the original pattern [Fig. 10-28]. The dark line here shows the sine wave of the pattern in Figure 10-25 con-tinuing beyond the original pattern. Once this is understood, life can go beyond itself. Life simply needs to know how something works geometrically in order to use it in larger patterns. As above, so below.
So with this understanding, we will look at the Flower of Life again, but in a different way.
The basic principle of the Flower of Life is a circle, or a sphere [Fig. 10-29]. And in every circle, no matter what its size, seven smaller circles can fit exactly inside it in this pattern [Fig. 10-30]. This is an eternal truth.
You see this in the Flower of Life, where there are seven primary circles hidden inside the larger circle. This relationship of 7 in 1 is also the basis of the Fruit of Life pattern. In the Flower of Life the Fruit is hidden in such a way that when you finish all the unfinished circles around the outside edge, one more vortex rotation beyond that leads to the Fruit of Life—outside the pattern [see Fig. 6-12].
But there is a way the Fruit of Life can be obtained within the system. All you do is use the radius of the middle circle (or any of the seven) as the di-ameter of your new circles, starting the first new circle in the center of the original seven-circle pattern. Then you line them up, and when you've drawn twelve circles beyond and around the center one, you have the Fruit of Life inside the pattern [see Fig. 10-31].
You can see that you come directly to the Fruit of Life by going within rather than without as we did in earlier chapters. You can see the incredible harmony that moves in this geometry. Is this not the same with music? Seven notes are in the oc-tave, and within the octave are the five additional notes of the chromatic scale.
Fig. 10-31. Thirteen circles within seven circles.
2 8 8 s> THE ANCIENT SECRET OF THE FLOWER OF LIFE
I was next instructed to continue that pro-cess, so in Figure 10-32,1 used the radius of the mailer circles as the diameter of an even smaller series of circles and expanded them out over the rage.
You begin to see something that isn't certain set, but it looks like the Fruit of Life is holo-graphic. In other words, you see 13 circles nected to 13 circles connected to 13 circles con-nected to 13 circles and so on—little Fruits of Life all around, perfecdy and harmonically ar-ranged on the page.
Once again, if we draw a series of even smaller circles using the radius-to-diameter pro-portion, we get the grid of circles in Figure 10-33.
I deliberately did not extend the grid over the whole pattern so that you don't get lost in the mage. You can see again that it keeps repeating, 13 circles connected to 13
cir-cles and on and on. If you keep doing this, the grid will continue forever, yet inside, perfectly har-monic within each pattern and fully holographic, in what is
called a geometric progression.
You can go inward forever and you can go outward forever, be-cause a circle around the whole drawing would simply be the central circle of a still larger grid.
This geometric progression is similar to the Golden Mean ra-tio—it has no beginning and no end. And when you have these no-beginning-and-no-end situa-tions, you're looking at some-thing very primal. It was this understanding that enabled us to do certain things in science, such as theorizing the creation of an infinite storage bank for a computer that would be consid-ered impossible by conventional mathematical thinking.
Fig. 10-32. Going one more radius within, or reproducing at haif size.
Fig. 10-33. Going inward one more radius.
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Fig. 10-34a. Egyptian wheels on ceiling.
Now that we understand how this new grid works, let's see what those wheels represent that were found on the ceilings of Egyptian tombs that we showed you in chapter 2 [pages 42 and 431. Here are two of those photos [Figs. 10-34a and b] and a simplified schematic [10-34c]. No one knows what they are. Perhaps what follows will give one answer.
[See descriptive text later, on page 293.]
First, observe in Figure 10-35 the beautiful geo-metric harmony of this circular grid from Figure 10-32 over the Flower of Life. See how this flows with perfection. See how this proves its source—the Flower of Life!
Fig. 10-34c. Simplified schematic of the wheels on the ceiling. Fig. 10-34b. Detail of wheels on a different ceiling.
Now see how the star within the star of the Fruit of Life moves harmoni-cally over this grid [Fig. 10-36]. In Figure 10-36b I have rotated the star within the star and the entire grid 30 degrees. You can still see the star tetrahedron inscribed in the sphere, but now you see it lying on its side. Fig-ure 10-37 is a polar grid from chapter 8. See or sense how these two inner Fruit of Life patterns could be overlaid and that they would be harmonic.
As a side note, these two drawings, if superimposed, would be a partial top view of your personal energy field, which is about 55 feet across, about 27 feet from your center to the circumference. You contain all these geometries around you. When you look carefully at these various drawings, you'll see
2 9 0 «> THE ANCIENT SECRET OF THE FLOWER OF LIFE
that they can all be overlaid, superimposed one over the other, over the other, over the other. As you study these drawings, you begin to see a single image emerging, all from the Flower of Life.
We have already seen how the image in Figure 10-38 is limited to the harmonies of music [see page 222]. And we have seen how the harmonies of music and the dimensional levels are interrelated, and that the differences in the cycles per second between musical notes and the wavelengths of successive
di-mensions or universes are proportionally exactly the same [see pages 45-47]. Since you know that this drawing is linked with
Fig. 10-35. The Flower of Life and the new grid.
I ~-36. The star within the star of the Fruit of Life.
Fig. 10-36b. The star within the star of the Fruit of Life rotated 90 degrees.
Fig. 10-37. The star tetrahedron inscribed in a circle and over a polar grid, from chapter 8, page 223.
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Fig. 10-38. The secret key.
Fig. 10-39.
The wheels A , B , C and D illus-trate how the spokes do or do not line up with each other.
the harmonies of music and sound, you can study this figure [10-38] to gain more under standing about the wheels on the ceilings of tombs in Egypt.
Notice first that there is a series of shaded circles in this grid that go around die center in a hexagonal pattern and that they are connectedd to each other. Exactly 24 of these little spheres are couching each other- If you scaled down ward one more level to the next smaller-sow circle, like the little one in the middle of the drawing, you would discover that there are ex-actly nine diameters of these smaller circles be-tween the center and the edge of the outer cle at M, which contains the 24 connecting cir-cles. The outermost of these nine circles is dicated by arrow A, and the count of nine in-cludes the radius of both the central circle and the outer circle as one diameter. You can see these nine diameters; you don't need to mea-sure them. Now notice the dark outer circle, shown by arrows M, that fits around all those 24 spheres perfectly, and the 24 radial lines that cross only 12 of the centers of those circles.
The other 12 radial lines are at the circumfer-ence of the next larger size circles.
Wheels on the Ceiling
That circle M and the 24 radial lines produce an image that is identical to the wheels on this Egyptian ceiling [Fig. 10-39] shown again here.
Do you remember near the beginning when you saw a picture of those wheels on the ceiling?
It was among the first photos I showed you [page 42], and 1 said that those were proof that the Egyptians understood the information that was in the Flower of Life, and that this wasn't just some funny little design on an Egyptian ceiling.
Now I'm going to show you what I believe they are, at least in a right-brain way, so you'll be able to understand the way the ancients thought.
I've had every part of these wheels in Egypt carefully measured. If you measure the diameter of the little hub in the middle and line up the same-size circles going from the center to the
2 9 2 $ THE ANCIENT SECRET C* THE FIOWER OF LIFE
edge of the wheel, there would be exactly nine diagrams, showing that the proportions between the little circle in the middle, the outer circle and the 24 spokes are identical to the previous two images [Figs. 10-37 and 38].
Arrow A [Fig. 10-34a, more clearly in 10-34c] points out the Egg of Metamorphosis over the heads of the figures, who are making a 90-degree turn and are showing the progression of resurrection, I believe, based on the above geometries. These wheels are keys. They exhibit the proportions that indicate and precisely locate the dimensional level where these an--- Egyptians went. They left a map on these ancient ceilings.
You'll notice that each wheel is rotated differently [Fig 10-39], so that the spokes in one are not always lined up with those of the next. The lines between wheels B and C look like they're precisely lined up, but between wheels A and B and wheels B and D the lines are off center. They're all slightly turned to a different angle. I feel sure they're indicating the dimen-sonal level or world where they went.
But no matter how you look at it, whatever these wheels are, the fact that they painted them on the walls means that they understand the deeper geometry within the Flower of Life. It took tremendous knowledge to ar-rive at these designs; it could not have been an accident. So from my point
of view, we know they knew about the Flower of Life. The Egyptians knew at the very least what we're talking about here, and more than likely they understood the Flower of Life on levels of life that we in modern times are just now beginning to remember and understand.
The Geometry of the Egyptian Wheels Now, in order to complete the geometrical understanding of there wheels on the ceiling and other Egyptian hiero-glyphs, I offer the following. There are two other Egyptian hieroglyphs that are equally important coming from these same drawings, and it is clear to me that they must be integrated if we wish to truly understand more about what the Egyp-tians were expressing.
In Figure 10-40 I revert back to an older drawing that shows the Fruit of Life pattern in a deeper progression. Notice that these six di-mensions separate the drawing into exactly six parts, each at precisely 60 degrees.
0-360
Fig. 10-40. Fruit of Life with 6 divisions.
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0-360
Fig. 10-41. The shaded circles show the 60-degree angle, and the lines running through the center of the Fruit of Life show the 30-degree angle.
0-360
Fig. 10-42. The circles between 75 and 105 degrees at the top of the wheel also show the 30-degree angle.
In Figure 10-41 in the bottom and top 60-degree arc you can see the circles that exacdy define this arc. If you then draw the lines down the middle of each arc defined by the center of each Fruit of Life pattern, you arrive at the next six secondary divisions, resulting in 30-degree divisions on the outer wheeL This divides the outer circle into 12 divisions, and is, of course, the wheel the ancient Egyp-tians used at the Temple of Dendera to define the astrological chart, divide the heavens and group the star patterns.
Continuing in Figure 10-42, the shaded circles in the upper 60-degree arc define the 15-degree arc on either side of the central line at 90 degrees, from 75 to 105 degrees. What is left over in this upper 60-degree arc is ex-actly two 15-degree arcs, dividing the outer wheel into exactly 24 divisions—the precise geometry found in the burial ceilings in Egypt
Since these 24-division wheels were also found on the ceilings with five-pointed stars that represent the stars, it would only make sense that they were related to the astrologi-cal chart at Dendera, by which the Egyptians were plotting their way into the heavens.
More proof of this idea can be seen directly from the astrological chart at Dendera [Fig. 10-43]. Notice that there are eight males and four females on the outside of the
"wheel," supporting it. This represents the 12 divisions of the heavens. But also notice that they have 24 hands actually holding this wheel. Then notice that directly inside the wheel are 36 images. All three primary divi-sions of the wheel are in this image at
Dendera: 12, 24 and 36.
Further, if you examine Figure 10-44, you will see something pretty amazing. At first this drawing will seem a little confusing, but it will unfold clearly. Look first at the 30-degree line and see the seven circles (starting with the number zero) moving from the central one out to number 6. The white circle num-ber 1 was used to define the six divisions of 60 degrees. The white number 2 circle was used
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to define the 30-degree arc of the 24-division outer wheel. T h e third circle will break the outer wheel into 20-degree arcs and, when split in half, create 10-degree arcs, the same 10 de--rees of the polar graph that is believed to come from Egypt. (If it didn't, it could have.) Look at the 150-degree line with its shaded number 3 circle. Finally, t h e two shaded circles on either sade of that dark circle number 3 define the same 10-degree angle, splitting the entire 60-degree arc into six 10-60-degree divisions, which, when completed in all six divisions, results in the36-division outer circle of the polar graph.
Notice the math. The first circle is a full 60 degrees. The second circle is 60 degrees times one-half = 30 degrees (the 24 outer circles).
The third circle is 60 degrees times one-third = 20 degrees (the 36-division circle). If we were ': continue, the next circle, the fourth, is 60 degrees times one-fourth = 15 degrees (48-division circle). T h e fifth circle is 60 degrees times one-fifth = 12 degrees (60-division cir-cle). Finally, the sixth circle is 60 degrees times
one-sixth = 10 degrees (72-division circle).
The last one would create the polar graph directly, and it must be noted that dividing the outer circle into 72 divisions creates the plat-from to move into pentagonal geometry, since the angle of the pentagon is 72 degrees. Now female geometry would begin to form.
This subject has hardly been touched, but it seems very interesting. T h e 12-division wheel definess the heavens; the 36-division wheel de--- the Earth, and the 24-division wheel is be-tween the Earth and the heavens.
Update: Days before printing this book, and anomaly was discovered as we were checking the math on the final diagram.
At first I was going to completely rewrite this section, but then I decided that future researchers may need this example and understanding of how a mistake can lead in even greater discoveries. So I have left it as it is because the essence is correct, and simply present the evidence.
Fig. 10-43. Astrological chart at Dendera.
Fig. 10-44- The circles, 0 through 6, show the different angles of the different
wheels. \
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First of all, sacred geometry is an exact science. There are no mistakes what-soever. In all of sacred geometry I have noticed that whenever something
"looks right," it probably is—but not always. However, whenever some-thing is proven to exist in a geometric progression widiin a specific drawing, all related progressions widiin that first progression should also be true. I have never seen diis not to be true.
So what is die problem?
In die progress of die first six divi-sions of the outer circle at 0 , 6 0 , 1 2 0 ,
180, 240 and 300 degrees in Fig.
180, 240 and 300 degrees in Fig.