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France World Heritage Chartres Cathedral part 3 August 11, 2008

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It was called ‘La Lieue’, The League, although the length of its path isconsiderably shorter than a league (6,850 feet/ 2,088m) at approximately 450 feet (140m). It is believed that the Christian usage of such designs was as penance paths, and there are hints in names for Christian labyrinths that suggest their perambulation could be used in lieu of a physical pilgrimage to Jerusalem. But they are also cosmographic images, and this is indicated by the Chartres design. It is based on a curious 114-fold division of the circle, indicated by the ’spikes’ that surround the outer circumference. Actually, there are 112 of these, because the entrance to the labyrinth path cuts out two of them. Researcher Nigel Pennick has written:

The number 112 is notable as part of the ancient systems of weights and measures used in Europe before the imposition of the Metric System. It survives in the Imperial System of weights as the hundredweight, 112 pounds, which is composed of 8 stone of 14 pounds, or 4 quarters of 28. This ancient eightfold division of weight, length, area and time, is part of the overall conceptual framework that underlies geomancy, sacred geography, sacred geometry and weights and measures. . . . Little is known of the system which incorporates a 114-fold division of the circle, but it is certain that there is more to this than mere capriciousness, a concept absent from ancient canonical sacred architecture, which is represented par excellence by Chartres Cathedral. At the centre of the labyrinth was the now-removed plaque, surrounded by a six-petalled pattern, which in fact was laid out on a thirteenfold geometry. This 13 may be emblematical of the 13 lunar months of the year, which with the centre makes 14, one eighth of the number of spikes around the perimeter.’

Travel GuidebookCritchlow was, in fact, the first modern researcher to record the 13-fold geometry underlying the labyrinth’s central motif, finding by geometric analysis a 13-pointed star polygon controlling several aspects of the design. Speculating on the symbolism of 13 in the design, Critchlow also remarked that one is reminded of the 13 months in the lunar year, but added to be practical, if a path is to be made into a twleve-fold system without initially occupying and thus biasing one of the twelve houses, the design must open up to allow in the traveller. Further, the connotations of thirteen with the earthly life of Christ must not be overlooked. He was both the cause and leader of a group of thirteen men. . . . The thirteen-pointed star is the hidden, non- visible aspect of the proportions of the maze and we would propose it represents the second type of sacred measure, co-ordinating proportion to number.

Charpentier saw the feature as a ritual contact- ground with the earth (`telluric’) currents he considered were strong and anciently recognized at Chartres:

We are now in a place that was chosen for human utilisation of a telluric current that surfaces and must have close analogies with currents that are magnetic. Now, it is a well- known effect of an electric current that all bodies in movement through its field acquire peculiar properties. This is in fact the way electricity is made, by causing a rotor to revolve in a magnetic field, natural or artificial.’

He provided evidence to show that the old Celtic word wouivre was used to refer to these sinuous, serpentine telluric energies, some of which ’spring from the movement of subterranean waters; others from faults which have brought soils of different kinds into contact, which develop differences of potential according to changes of temperature; some, again, flow from the depths of the terrestrial magma. These currents are a manifestation of a life that goes on deep in Earth herself. . . .” He felt that the labyrinth path was meant to be traversed barefoot, so the body could best receive these energies — reminiscent of the idea of the king standing barefoot on a king stone in the entry on Westminster Abbey.

Both the present author and Nigel Pennick have noted the arresting coincidence of the labyrinth-like forms of some of the energy patterns studied by J. Cecil Maby and T. Bedford Franklin during their excellent scientific research into dowsing during the 1930s.

To add anecdotal evidence, when this author was at Chartres, close to the spring equinox, he saw a visitor suddenly ‘go mad’, exhibiting wild behaviour as he walked over the labyrinth segment of the nave (of which the man seemed totally unaware). Further, the author and two of his three companions felt extraordinarily mentally disoriented when coming out of the cathedral, a very real sensation which was by no means subtle, felt independently by each person. without comment initially, and which persisted for about 30 minutes. This could, of course, be simply subjective.

One of the more dramatic enigmas at Chartres reveals itself just once a year — on 21 June. When the sun is at the highest point of its journey through the sky, about 12.45 pm local time, a beam of sunlight shafts through a small area of clear glass in the window dedicated to St Appollinaire on the western side of the south transept. The beam strikes a flagstone in the south transept’s western aisle. This slab is larger than those around it, a slightly different hue, and set at an angle. Moreover, there is a small, round metal tenon set into it.

The solstitial sunbeam moves over this metal marker. Charpentier realized that such an event required cooperation between architect, glazier and mason, all working to astronomical information. It bears repeating: nothing occurs by chance at Chartres.

There are more mysteries at this great cathedral than space here allows to be itemized. Its measurements, proportions, patterns, images, resonance properties, subterranean waters, siting and astronomy provide a whole library of ancient, secret knowledge.

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France World Heritage Chartres Cathedral part 3

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