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23.5 Degrees: Terribilis Est Locus Iste
This place is terrible – Genesis 28:17, inscribed at the Shrine of St Michael, Monte Gargano
By Stella Maris
May 10, 2008
Saint Michael the Archangel, 1467, The National Gallery, London
© Piero della Francesca
Although it probably won't mean much right now, if you ever need to cross the Abyss, this information will be vital to your survival. Therefore, should you get stranded, it is essential to remember that the only route back is via the Archangel Michael coordinate.
You will recall that, in our hyper-dimensional Temple of Solomon, the main orienting space-time reference is the Meridian, which is delineated by the alignment of the Sun at midday in the south with the Pole Star at midnight in the north.
In the Renaissance system of symbolic correspondences, the Pole Star is represented by the Virgin Mary and the Sun is depicted by Jesus. So, when you are admiring a typical Renaissance painting of the Madonna and Child, you are basically locking onto the Meridian dynamic of a subliminal roadmap.
However, before the Church started barbecuing heretics in earnest, the original medieval Sun correspondence was actually attributed to the Archangel Michael, which is an extremely important differentiation when you start navigating space-time matrixes and encountering life-threatening Abysses. This is why you will often see Saint Michael chapels strategically placed in Notre Dame cathedrals, among other types of Michael-Mary alignments.
It was actually the Priory of Sion’s Grandmaster Robert Fludd who formalized this system in the early 1600s into a template that he called the Round Art of Memory.
This particular Art of Memory template was based on the now-familiar Temple of Solomon layout, configured with the twelve zodiacal asterisms that surround the ecliptic of the Earth, with the Pole Star (Polaris) and the Sun delineating the Meridian alignment.
However, Fludd's system also included an additional sub-correspondence to our local solar system consisting of the six known "planets" revolving around our central Sun. This concept was conveniently rendered as the number seven, which then became an encoded reference to the Archangel Michael, around whom everything revolved.
Throughout your travels, in addition to the symbolic twelve correspondence represented by the apostles, tribes of Israel, and zodiac signs, you will often observe various and sundry "seven" references, including 7-pointed stars. Gothic cathedrals such as Notre Dame de Chartres are built around this template and often also have gnomonic sun dials built into the architecture in order to underscore Michael's mythical relationship to the ancient sun god, Apollo.
This system further configures into a useful numerical dynamic of threes and fours, elegantly uniting the numbers twelve and seven, whereby 3+4=7 and 3x4=12, but we'll get into this another time.
However, another useful hermetic “seven” road sign to note is that the Michael correspondence is also represented by a curious glyph consisting of six dots configured in a circle with a seventh dot in the center.
A good example of this glyph can be found in the depiction of Saint Michael in a panel attributed to the Italian artist Piero della Francesca in The National Gallery, here in London. On the blade of Michael's sword is painted the secret sigil, which also surfaces in a variation of Cosimo de Medici's coat of arms, which we will encounter as our story unfolds.
This glyph eventually developed into the modern astrological sigil for the Sun - a single dot within a circle - but is ultimately derived from the ancient symbol known as the "Seal of Solomon".
Newton Coordinate:- Feast of the Apparition of Saint Michael on Mount Gargano, May 8th, on the Greenwich Meridian.