Dragon’s Deep

Edmund Spenser is said to have flattered Queen Elizabeth I by referring to her as the ’fairy queen’ though it is equally possible that his was a veiled reference to the fairy wife of the alchemist, the Earl of Desmond at whose seat - Castle Matres - Spenser and Sir Walter Raleigh resided during an expedition to retrieve the Wizard’s library from a war zone on behalf of Dr. John Dee.

Castle Matres or Matrix as it is now known was said to have been named after the Matres or triple goddess. The castle rests on the banks of the river Deal in County Limerick and the library which was housed there is said to have contained singular works on Magic and Alchemy, works that Dee didn’t want, under any circumstances, falling into the Queen’s hands because, as Laurence Gardner has pointed out, Dr. John Dee, Edward de Vere, Francis Bacon, Edmund Spenser and William Shakespeare et al were well aware that Elizabeth’s house were badly bred usurpers and despite the descent from Margaret of Anjou, the blood wasn’t pure. I wonder what the boys would have made of the successive packs of kein-kultur, dynastic rabble that followed the Tudor Turnip Farmers.

Though Plantagenet descent and the fairy blood that ran in the veins of Edward III in particular, appears to have been greatly desired to legitimize the subsequent claims of the dynasties that superseded them, the Plantagenets themselves and Edward I in particular, looked to Scotland to legitimize their own claims to kingship. Scottish and Irish Dragon Kings were invested on the Stone of Scone.

This Stone - the Lia Fail - the Stone of Destiny (or Fate) of the Tuadha d’Anu once rested at the summit of the Hill of Tara, the ancient seat of the Elven High Kings in County Meath. When the Milesian Dalriada left Eire for Scotland it is believed that they took the Lia Fail with them.

Despite Edward I’s best efforts to conquer the Scots and wrest from them the Lia Fail - the ultimate symbol of royal legitimacy - thereby confirming, one suspects, his right to fairy kingship which, retrospectively he had anyway and was thus wasting his time, the Stone of the Elves never once rested under the gilded commode in Westminster Abbey.

Because the Raven-Stone of the Phoenicians wasn’t the Stone of Scone that Edward I stole, this fake lump of rock that the English thought was the Lia Fail was nonchalantly and unceremoniously driven up to Edinburgh Castle in the back of a Land Rover a couple of years ago. Even select members of the Order of the Golden Dawn knew this over a hundred years ago and descriptions of the Lia Fail can still be found in the literature of their successors.

Part of the later Plantagenet ancestry included the descendants of the Danish Jarl, Rollo Duke of Normandy. The senior Angevin dynasty - the Vere - also have the Viking Rollo as an ancestor in the female line.

The word ’Viking’ has been explained in various ways. Originally spelt ’Wicking’ it was thought to derive from the word ’wic’ meaning the inlet or mouth of a Fjord, whilst the earlier meaning of the word from the Old Friesian and Old English had ’wic’ as an encampment. In Russia however the ’Vikhr’ was a whirlwind, a manifestation of the Zmei or Dragon king which is dealt with later.

The Vikhr is a character which is common to both the Russians and the Irish and it will be remembered that Russia was actually founded by the Viking Ruotsi Clan, intimating that the actual definition of the word ’Viking’ is the same as the Irish word ’Sumaire’, a Dragon and a Vortex.

Anciently the Danes and the Danaan were closely related and an examination of the Royal Clan in both cultures will reveal the same egalitarian system of self regulation that distinguished the Danaan from the rest of Celtic society.

The similarity doesn’t end here. Like their Fairy cousins defenders in Ireland and Scotland, the Danes warriors were utterly indifferent to death and fought without mercy. Their overall belief system engendered behavior that appears to have been almost nihilistic and devoid of any moral conflict.

This system, based on the ’Nine Worlds’ or emanations of being, was duplicated in earlier or contemporary variants of the Qabalah and Kaula Tantra. As with the former where the spheres or Sephirah were incorporated into the Hebrew ’Tree of Life’, the Viking spheres or worlds were thought to rest within the branches of a tree which, in the Norse, was called Yggdrasil, the World Ash Tree. Yggdrasil’s roots were embedded in Hel or the Underworld, whilst its branches brushed against the stars of Heaven.

Yggdrasil is a shamanic glyph which represents the macrocosm - the universe both subtle and material - and the microcosm - the human body. The tree glyph itself in all cultures represents the path the shaman takes, from the roots, embedded in matter, up the trunk and into the branches and the stars, to the rarified spiritual spheres and beyond, to unite with godhead itself.

Such a journey inevitably must transcend mundane care, fear, greed, opinion or morality, and he or she who embarks upon and completes such a journey successfully becomes united with the One Unmanifest, the True Will and the Total Self. As we shall see later, the Tree is actually a woman, a goddess incarnate or Avatar.

The individual who completes the journey is beyond mortal conditioning or the short-sighted relativity upon which is based human moral law. This system and its results duplicate themselves in many other mystical systems and in early witchcraft in particular.

Perhaps therefore, when considering the behavior or attitudes of the individuals in cultures like those of the Danes and the Danaan, it might be more apposite if scholars took more into account the effects that philosophical systems like these actually had on people like the Norse, and then rethought the etymology of the word ’Viking’ or ’Wiccing’, before settling on an answer that smacks of over-specialization.

In tandem with their Aryan Hindu cousins, the Vikings used the symbol of the swastika. An example of its utilization by the norse can be found in Iceland, whose early inhabitants emblazoned the blue swastika sacred to Kali Azura or ’blue Kali’, the sister of the Sumerian Cain or Qayin.

Variants of this figure, the hammer of Thor, fig 1, earlier a copper, single-headed labrys or tomahawk common to the Ubaid,, which is the shape of the fig 2 spinning and creating the vortex, the spiral storm or tornado, can also be found at numerous archaeological sites including Newgrange in its early spiralised form fig 3. This is the spiral design of the Sumaire of Sumeria. In its variant form fig 4 the swastika represents the curved Scythian sword reaping the whirlwind.

The swastika is also found reversed fig 5 and both forms respectively are thought to be moon and sun symbols respectively. As the author will continue to reiterate, when reading on such subjects, particularly in relation to the philosophy of the Druids and other Indo-European, Aryan philosophies, it is wise to bear in mind that the teachings and symbols operate on both the macro and microcosmic levels at the least. Often the symbolism is in fact multi-faceted.

In the case of the swastika the moon and the sun symbolism applies inasmuch as the sun radiates or pushes energy out whilst the moon draws energy to it in the form of the sun’s rays. Its gravitational field also pulls the tides. The fig 6 of Kali is the Sumaire, the whirlpool which is the sucker-in of blood and energy, like the moon draws the suns rays and sucks up the tides, whilst the fig 7, the solar swastika symbolizes the donor or benefactor who gives willingly of their essence.

fig 8 = Inhale

fig 9 = Exhale

If we look closely we will also notice that the circular swastika is the mark of Lilith given to Cain and also the mark of Kali. In their original form fig 10 they represent the scythe of the reaper, the Golden Sickle of the Druids spinning on its hilt. Therefore the fig 11 is also the fig12. The swastika has another three-armed formed which appears again at Newgrange and also as the badge of the fairy king Manannan Mac Lir, Lord of the isle of Man fig 13 and Lord of the Waters of the Sea. As fig 14 it compares to the dragon’s eye of the south ,fig 15 and also fig 16 the dragon’s eye of the north. In the northern hemisphere, mimicking the pull of the whirlpool, the rotation of these devices is to the left as you look at them, or clockwise from the point of view of the one summoning the sumaire in themselves.

If we think of the swastika as being a turbine, the position of the arms, either fig 17 or fig 18: or fig 19 or fig 20, indicates not the direction of rotation, but the angle at which the blades are set. The difference between the four and three armed swastika is that the four armed essentially represents the sowing or reaping of "the four winds", the pneuma, the spiritual or morphic energy, whilst the three armed cross, the swastika of Manannan of the waters, represents sowing (donating) or reaping (removing) the blood and waters of the Fountain of Life - The Holy Grail.

The pineal gland is so-called because it is similar in shape to a pine cone. The dragon’s eye fig 21 of the north looks similar to the plan view of a three sided pyramid and also represents the pineal gland that controls the secretion of the mystical fluids. In relation to the pineal gland the Grail is symbolized by the sacred head, the Baphomet or source of wisdom.

Related to the Solar disc and the Ajna chakra in Tantra, in Mithraism this stage of the Grail process is represented by the Dragon of the sun and so here the three armed swastika is the Dragon’s eye of the north fig 22 representing the pine cone shape of the pineal gland and also the 15th letter of the Hebrew alphabet Ayin fig 23 the 15th path of the Tarot - the Devil - and the number of Ishtar or Venus in the roll of the seniority of the Gods. The Ayin is the ’All Seeing Eye of God’ (Enki or Samael) peering both in and out of the void.

At the end of their journey from the brain, through its third ventrical, down the spinal column to the womb, graffenberg gland and urethra, here the fluids rest until naturally or manually discharged. The womb becomes the grail Cup containing the waters of life, the Cubic stone of the Philosophers. The Dragon’s eye of the south fig 24 = fig 25 - the Cup.

Thus the Grail, amongst other things, is both the Head and the Cup, and both ’eyes’ of the dragon - north and south - are the eyes that contain "The light that illumines the human spirit". It is also the pineal i - D, the Delta or Hebrew Daleth or Tau - The Doorway to the eternal.

In any form the swastika is an emblem of life, of breathing (the breath of ravens) and of self-sacrifice. As such therefore, the swastika is one of the primeval symbols of Priest-Kingship and Dragon Maidenhood. Greatly to be abhorred then is the fact that the Nazi Party of Germany hijacked the swastika of Kali and, along with numerous other fairy symbols, made it the most hated and feared glyph on the Planet.

The Death’s Head of the SS is the head of wisdom of the Templars - the Baphomet - whilst the Sig rune itself is the path of the serpent of wisdom descending the Tree of life. The red banner with the white circle and black swastika represents the bloody funeral ground of the Aryan saints, who gave the last drop of their life’s blood to Kali, represented by the white disc of the moon amidst the crimson field of the banner and whose swastika is the sumaire drawing life into it as the Moon draws the seas to her.

The red flag is thus intended to represent the self sacrificing Tantric priests of the Kaula Vama Marg shedding the last vestige of their egos and their lives, to be left drained. As empty vessels they were then ready to be filled with the wisdom of the Cosmos and with the power of the Siddhis.

In practice however the swastika represents the suffering of four million people sacrificed to the stupidity of a nation duped into thinking that a dysfunctional House Painter and a disaffected Chicken Farmer, leading a doomed race of potato peasants, could really be the vestige of the Aryan Peoples -Their so-called Master Race.

And feeling the pinch after the Weimar Republic had its debts called in who, fuelled by the politics of envy, wanted to keep the good times rolling by backing Mr. Adolf Menachim Schickelgruber, the Aryan God-Hero of the Teutons who would get rid of all those nasty Hebes and redistribute their wealth in the German people’s favor? Correct - the German bourgeoisie - the smug, Jew-hating, complacent bloody middle classes. It’s nice to have a readership that keeps itself informed in matters of contemporary history.

This Jewish Holocaust exactly replicates what happened to the Elven families for over a thousand years and for exactly the same reasons. Money and Power.

The Aryans, The Noble or Elven Race, were a king tribe and were Ubaid Sumerian-Scythian in origin. These Dragon Kings and Fairy Queens weren’t extensive in number, didn’t breed outside their caste and weren’t nationalists or racists. How the Germans ever thought they were all descended from them is beyond understanding.

The Fairy progeny, in small pockets, spanned the Earth from as far distant as Japan
* to Scotland and they rarely mixed with the indigenous populations who invited their rule and their wisdom. Germans, like any other tribe would have had their Aryan caste to guide them but that doesn’t entitle a whole nation to consider itself Aryan.

* The Ainu of Hokkaido or North Island are a tall, fair-skinned Caucasoid people, thought to have been the original inhabitants of the Japanese Islands who were driven north by waves of immigrants from China, Korea and South Asia. The Ainu (pronounced: Eye-Noo) are animistic and shamanic and share many beliefs with the Amerindians and the Scythian druids concerning the nature of life. Their principal divine totem is the Swan.

During the 12th century the Ainu were almost extinct following continued hostilities with invaders. Their mythology tells them that their race was saved by a swan who descended from heaven and mated with the last living Ainu Lord. This coupling produced the Ainu who still occupy Hokkaido today.

The Swan Maidens are the Dragon Princesses of the Grail, the Scythian Druid Queens and the Nordic Andvarinauts. In Irish lore they can transform from swans into maidens and so, anthropologically speaking, it would appear, and the assertion is supported by academics, that the Ainu; born of the womb of a Swan Maiden: are of the Royal, Elven Dragon Blood - the Blood of Anu! The Ainu have dark hair and almond eyes and are distinctly Asian despite their complexions. Nevertheless, the remnant of the Ainu who retain pure blood, no more than 17,000 of them are left, are of Aryan extraction. So much for the 20th century blue eyed, blonde haired German fantasy. The pure, insular Ainu have more right to the epithet Aryan than any German chicken farmer ever had.

Well dressing
Yggdrasil, the Tree of Life of the Viking Kabala or Nine Worlds system, is coiled about at its base by the serpent-dragon Jormangr the encircler. At Yggdrasil’s roots there is a pool. In Ireland, Scotland and Wales this symbol is repeated as the Hazel Tree by the well, in which lives the Salmon of Knowledge. Atop the branches of the Hazel tree there sits an eagle who drops a blood red nut of wisdom into the well 13 times a year. There it is consumed by the Salmon of Knowledge.

Because of this story, real wells and trees eventually became the focus of devoted rituals that we now now as well-dressing, a misunderstanding of the idea that the tree and the well were figurative and that their curative properties were obtained not from well water, but from something entirely different.

Because these waters were considered therapeutic and rejuvenating the wells were blessed and venerated and, one supposes in order to make the forgotten approximation closer to the reality of the symbol, the trees adjacent to these wells were decked in coloured patches of cloth. These symbolized the Chakras or Sephirah of the tree of life of the female body which the druids were really symbolizing in their use of the tree and the well glyph.

In the case of the Gaelic form of Yggdrasil, the nut of the Hazel represents the pineal discharge. Dropped by the eagle, representing the spirit or the Sun God Llew (the Ajna Chakra or Kether Sephiroth), it descends through the tree of life (like the lightning bolt of inspiration) and falls into the well or womb. Here it is consumed by the salmon of Knowledge. In the Irish story it is Nechtan (meaning ’pure one’) the God of ’waters’ who catches and eats the salmon, a euphemism for cunnilingus. Repeating the entreaty of the grail story however, it is only the pure one who may see or benefit from the ’Grail’, which is here, as anywhere else, the female genitalia and the mysterious essences they bestow.

This story and its variants can be found across Europe in one suppressed or hidden form or another. Whilst the eagle represents the spirit we are clear on the nature and identity of the secretions represented by the nut. The spirit was said to be located in the pineal gland by Descartes, who was repeating an ancient gaelic belief. The salmon however represents the vulva, resting at the ’bottom’ of (eg. beneath or below) the womb.

Both in contemporary and in classical and historical colloquialism the fish represents the female vulva. This usage is universal. If eating fish is said to be good for the brain, then eating Nechtan’s salmon takes on a whole new meaning for us. The fish crops up as a Christian symbol, that of Ichthys (meaning ’fish’ in Greek) which latter day Christians believe means Iesus Christos Theos, or ’Jesus Christ God’. And on the subject of fish and fish women or Mermaids, we enter the labyrinth.

The Labyrinth
The word labyrinth has an etymology of which there are two interlinked variations

i) derived from labrys, a pre-Hellenic word said to mean ’double headed axe

ii) derived from the Latin labia meaning ’lips’ or ’folds

The double-headed axe was sacred to Zeus; the Grecian Thor, whose hammer was a variant of the labrys. The spinning hammer was thought to form the shape of the swastika as it flew through the air, whipping up the whirlwind.

This whirlwind and the spiral swastika that symbolized it were the figurative progenitors of the stylized maze or labyrinth. Nevertheless the hammer, shaped like two opposed crescent moons was, like the labrys, a female emblem. At the highest level the labyrinth symbol works on several different but interconnected strata as:

  • The Folds of Time

  • The Spiral Cosmos

  • The Folds of Human Self Deceit

  • The Journey of Life

  • The Brain and Spinal Column

  • The Womb and Vagina

  • The Tomb or Creachaire

  • The Vortex or Sumaire

We will be concentrating upon the vampiric symbolism in relation to samadhi or transcendence.

As the Romans, formerly and anciently the Scythian Trojans, continued to follow Hellenic customs, the word labrys would have been known to them. Consequently the construction of their Latin word labia would have had incorporated into it any of the original suggestions intimated by the pre-Hellenic word labrys.

This assertion is borne out by an inspection of the glyph representing the double headed axe. It is constructed in an hour glass configuration by placing two equilateral triangles of equal dimension together point to point, with the points meeting on the vertical plane, equidistant from the two horizontal planes.

From the central meeting point of the two triangles, a horizontal line extends out, twice the length into the plaster of the walls of the labyrinth at Knossos and it is this figure, the labrys, which authorities present as giving the Knossos labyrinth its name.

With the handle removed and placed upright before the double triangle we have the figure 18 which, when the numbers are merged into a monogram, form the caduceus of Hermes, the "phallus" of Baphomet, the fennel stalked thyrsus of Bacchus-Dionysus, the fennel stalk in which Prometheus gave the gift of "fire" to man and the flying reed-stalk of the witches (the original witches broom).

It is also the ribbon entwined maypole, the serpents Lilith and Samael entwined around the tree of life and the rise of kundalini up the helix encased spinal cord to the ajna chakra of the brain, all of which the foregoing also represent.

The witches flying reed stalk suggests soaring consciousness in the same way that the caduceus does, which has wings attached to what is thought to be the solar disc, which is rather the sephiroth corresponding to the brain. The fire given to man by Prometheus might be thought by some to have been the fire serpent kundalini, who features as a maiden in the service of the evil Klingsor, in the stories relating to Amfortas and the knights of the Holy Grail.

Klingsor represents the perversion of the vampire rite into an act of base sexual lust. He is the aspect of male human nature who, like the Minotaur, represents the danger of capitulation to sexual drives when the knight, like Theseus, is presented with the true quasi-erotic nature of the Grail in the form of the virgin vulva.

However Kundalini promotes the production of noradrenaline and the sexual hormones which work in direct opposition to the Grail and if the pilgrim allows his baser nature to prevail, the "Grail" will destroy him by producing in him the opposite hormonal response to that which engenders wisdom and spirituality.

In the story of Amfortas, Kundalini realizes her true function and dies (to a former physiological capacity in which she was ever active in the service of "Klingsor") meaning that she becomes passive and receptive to her other, deeper spiritual role, and capitulates to the service of the Grail, symbolized by her expiry at the Fisher King’s feet

This simply means that she, the spinal column, accepts her role as the conveyor of Grail chemicals from the pineal to the womb, instead of only sexual ones, from the genitals to the brain. With the expansion of knowledge in the science of Endocrinology, it is possible now for the informed outsider to restore these stories to their original meaning.

So the fire of Prometheus is not the fire of Kundalini going up the spine to the brain, but the fire of wisdom going down the spinal column to the womb to become Starfire, which is shed from thence and drunk in the ’Rite of the Vampire’.

The double triangle labrys design, identical with the one found in the labyrinth of Knossos but without the handle, was used up until medieval times to denote the womb and vagina. One of the medieval sexual talismans incorporated into the ’Clavicula Salomanis’ includes this axe-head glyph as a representation of the female principle, encircled by the Latin phrase "Exeat et Replete Terrum", taken from Genesis. The talisman cited was used to attract female lovers, one might speculate for what purpose precisely. Certainly no purpose that would serve a vampire.

The genital symbolism is therefore quite clear and whether the word Labyrinth is derived from either labrys or labus, it strongly indicates that the maze or labyrinth was originally a graphic representation of the womb and vaginal channel, at least on one level of relationship to any attendant symbolism.

The following figures demonstrate the relatedness between the labrys, the caduceus and other historical symbols and objects.

fig. 26 The labrys or double-headed axe. fig 27 the talisman of Solomon (medieval text)


fig 28 The symbol of Isis-Osiris with numerical and gematric values.

fig 29 The maypole, the Thyrsus, the Caduceus of Hermes the Phallus of Bafomet and the witches Reed stalk.


Dragon’s Deep
The labyrinth of Knossos is thought to be a later version of the temple labyrinth of Amenemhet III (ca. 1818 - 1772 bce) built at Faiyum. This was a mortuary temple complex consisting of some three thousand rooms and halls resting beneath the shadows of the Pyramid of Hawara, a name which itself is reminiscent of the ancient Sumerian Dragon Queen Hawah of Elda who was an ancestor of the builder.

The Hawara labyrinth was adorned with carvings of the dragon god Sobekh, to which the labyrinth was principally dedicated, which is not surprising when one learns that Hawara, formerly Arsinoe Ptolomais, was also named Crocodilopolis, the cultic centre of the veneration of this Egyptian dragon god of sovereignty and the protector of the royal caste, which was also the Sumaire of Sumeria and the Scythians. The 22 kings of Egypt of the XIIth dynasty met there and it is within the precincts of this palatial labyrinth that Amenehemet’s daughter, Sobekhnefru, held the Royal Dragon Court.

Although vast in size, it was not unique, as many pyramids themselves had labyrinths built into their structure. We are reminded of the nature of pyramids as sacred mountains, echoing Egypt’s cultural origin in an earlier mountainous region of Eurasia, and we will also remember the sacred hill of the Ogdoad and the links between the pyramids, raths, sidhes, tells, tepes, kurgans and ziggurats.

The labyrinth, like the pyramid and its collaterals, is thought to be a development of the idea of the mountain cave itself and examples in support of such a theory are to be found in the intricate passages and designs of Palaeolithic sanctuaries. As we know, each of the pyramids and their related structures had funerary and living quarters and were representations of the "cave in the mountain".

From the kings or queens habit of living in these funerary buildings, we obtain the myth of the vampire as one of the undead. Labyrinths have been discovered as far afield as Siberia (north-east Russia) and Wales suggesting strongly, because of the locations, that the concept was of a Fairy origin. In support of this theory we find in Iceland various turf mazes and labyrinthine stone structures called Volsunghausen or ’Wayland’s Homes’.

Wayland or Alberich (Aubrey/Oberon) was also called Laurin and this name, meaning a Bay tree, has a double entendre when it is translated as ’passage’ in relation to the maze cult. A spiral path can be trod to the top of Glastonbury Tor, which is said to be the home of Oberon.

Frequently these structures are associated with barrows and atop one of these outside St. Anne’s Well (a sacred site dedicated to Black Annis) in Nottinghamshire is a turf maze named "Robin Hood’s Race" which is virtually identical with another which was sunk in a depression at the top of "The Fairies’ Hill", a barrow outside Asenby, Yorks.

It was the custom up until 1908 to tread the Asenby maze of an evening and sit in the centre to hear the Fairies sing. The design of these mazes, which are of considerable antiquity, some say Bronze Age, are lately called "Shepherds Races", (many with a distinct spiral pattern towards the centre of the structure), and were copied by the church during the medieval period.

The labyrinths at Chartres and numerous other churches in France, Germany, Spain and Great Britain, are of an identical design with these far more ancient mazes which invariably were placed adjacent to or in the midst of originally prehistoric sacred sites, often forming the centre of the Groves. The labyrinth of Chartes Cathedral, built by the Knights Templars in the 13th century, like many ritual mazes, has no blind alleys or fake routes.

At its centre there is a six petalled "Plantagenet" or wild rose, carved into which there seems to be an M figure reminiscent of the symbol of Virgo -
c- which is the M for "Our Lady", the Virgin Mary Magdalene, to which the Ichthys or Salmon of Wisdom has been appended, denoting the genital nature of the whole glyph itself. As the maze is situated in a cathedral dedicated to Notre Dame, it seems appropriate to think of it in these terms, as the womb of the Virgin.

The Rose Garden symbolism of the core of the labyrinth of Chartres is an echo of the Garden of Solomon and the Rose of Sharon, meaning ’Blood of the Virgin Princess’, and also of the later forest labyrinth of Melusine, with its fountain, mentioned in medieval French literature.

The Labyrinth of Solomon is in fact a medieval alchemical symbol doubtlessly denoting the "scented fountain garden" of Sheba. In the French stories Melusine lies in hiding at the centre of her maze garden, waiting to prey on victims returning from the Hundred Years War. She would draw them in and drink their blood. Conversely she also lay at the centre of the maze, as the prize of the quester for the Grail.

The centre of the maze incorporated a black cubic stone
n from which spurted the waters of life, La fonteine de soif, and the blood of the virgin womb. At Chartres the Rose in the centre of the maze can be seen bathed in the sanguine light of the sun beaming through a strategically placed pane of red stained glass, making the combined Grail symbolism apparent.

Gematria, a system whereby attributive numbers are added together to give the lowest figure and thus reveal the essence or spirit innate in any particular beings, words, higher numbers or objects, to which there have been traditionally attached a numerological component, was an integral part of Hermetics and Kabala, which was used extensively, as part of sacred geometry, in many Templar buildings.

The Chartres Maze, was also called the Jerusalem mile and was used as a symbolic substitute devotion in place of an actual pilgrimage to the Levant. The mile, though here only suggestive, is 1760 Roman yards which, when added together gematrically gives 1+7+6+0 = 14. The multiple component of the mile is X 3, as the mile is measured in yards or 3 feet spans. In order to calculate the number of feet in a mile one times 1760 by 3 which gives 5280 feet. In reality the maze path is far shorter, but the inference is implicit.

It actually measures 150 yards which was a Gaulish measurement of 1500 paces, called a leuca, leuga or leuva, which is a term remarkably close to Lucca, whom Professor Margaret Murray states was the god whose name the reputed royal sacrifice, William Rufus, invoked in oaths. Lucca is related to Loki and Lucifer, the bringer of light, also known as Mazda or Ormuzd.

The cult of the Mistletoe Bard and his journey to the Elysian labyrinth of Persephone is clearly documented in the author’s notes on Cai ap Emrys and the Vere dying kings.

If one multiplies the gematric sum of a mile (14) by the number of feet in a yard (3) one obtains 3 X 14 = 42, the diameter of the maze. In the medieval period three types of calendar were used: Solar, Lunar and terrestrial.

The calculations of both Solar and Lunar calendars are well known. Gematrically the symbolic Chartres "mile", if it actually were a mile in feet, added together would give 5+2+8+0 = 15, which is the number of the path of the devil or Baphomet, the head of wisdom, the skull and crossbones, the androgynous god of the Templars (Mercury-Venus or Hermes-Aphrodite) whose combined male and female gender celebrates Enthea: Hierogamy or divine union.

However, it is 150 yards which added gematrically amounts to the same thing: 15. 150 yards is 450 feet which adds to 9: N’H’Sh, the tripartite triple goddesses of "The Love that is Death" and the Vampire Sumaire: the Spiral Serpent of the Vortex.

When the Catholic faithful walked the symbolic 5280 feet of the Jerusalem mile, as the maze is called, kabalistically and gematrically they were following the path of the Devil (15) and walking down the road to Damnation. Which was nice.

The actual measurements used vary from modern scales but the component measurements remain the same. The scale used was medieval and the diameter was 42 old feet, each comprising of 11.5 inches per foot, which still relates to Venus and the cubic stone, Melusine and so forth, without actually changing the meaning of the design. This measurement also seems to be a regularly occurring standard for early turf mazes in Britain. These usually display the 10 or 11 concentric circles which correspond to the sephiroth of the Qabalistic Tree of Life.

The Chartres Maze was probably based itself on earlier patterns associated with Melusine and Sheba, which themselves were based on the swastika, the pre-eminent glyph of the Vortex or Sumaire, the "sucker-in" and source of life and life’s blood.

Associated with this is the concept of the maze as a dance pattern which, similar to the original sacrificial sword dance of the Danes and the Scots, was an echo of the spiraling witchesdance around the vortex and a celebratory rite of the Wild Hunt.

For some, entry into the maze would result in their life being drained away by the virgin occupant, whose repast she would pass on to her kind, as she acted as the fountain of thirst and fed them in turn from her holy blood. In a sense then, where the Minotaur at Knossos is concerned, (who is frequently interchangeable with the Scythian Centaur in classical art), he is also representative of the vampire king.

Thus at the highest level, as a whirlpool attracting and distributing life and life’s blood, the Labyrinth was both tomb and womb, life taker and life giver. In that order. On at least two occasions in England labyrinths have been euphemistically referred to as "fish traps" or Veres (Norse:Ver’).