Page 18 - The.Ancient.Secret.of.the.Flower.of.Life-Vol2
P. 18

feet was a long pathway 

that led several miles to 
the temple complex at 


I had first noticed 
that the Fruit of Life 

[Fig. 9-12] was defi- 

nitely contained in 
Lucie's drawing [Fig. 9- 

]. This fact alone im- 
presses me because I

hadn't seen the Fruit of 

Life anywhere else in

But I wanted to un-
Fig. 9-12. The Fruit of Life.
derstant more about the
ladder that goes to the
Fig. 9-13. Lucie's ladder, with concen- 
tric circles drawn to step 19 and again 
at step 21.

knew that a ladder like this is another way of making concentric circles, 
so I decided to study what Lucie was doing with this ladder. I began to 

redraw every one of her lines to see what she was trying to convey 
Tig.9-13]. SoItookthesetwodrawings[Figs.9-12and9-13],which

were obviously both out of her original drawing, and combined them. I 

reconstructed her drawing, superimposing the lines very accurately
[Fig. 9-13a].

Side Note: Sacred Geometry Is a Do-lt-Yourself Project

This might be the right time to take a little side trip and express 

something about sacred geometry that is very important to under- 

stand if you decide to become a student of the subject. When you sit
in an audience and look at sacred geometry forms or read about it in

this or any other book, receiving the information passively, you're ab- 
sorbing a very small amount of the information coming off these 

drawings. However, if you were to sit down and draw them yourself, 

actually construct them, something happens to you, something far 
beyond what happens if you simply look at them. Anyone who has

ever done this will tell you the same thing. This is one of the basic premises Fig. 9-13a. Lucie's basic geometry, with 
of the Masons. When you actually sit down and line things up and physi- the temple plan and the Fruit of Life 
superimposed over it.
cally draw the lines, something seems to happen that is akin to a revelation. 

You draw the circle and you start understanding. Something happens in- 
side. You start understanding on very, very deep levels why things are done 

the way they are. I believe there is no substitute for personally reconstruct- 
ing these drawings.

I can tell you about how important this is, but what I've found is that few 

people actually take the time. It took me over twenty years to do these 
drawings, but it doesn't have to take you that long. For many of these draw-

NINE — Spirit and Sacred Geometry $ 2 3 3

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