a sub-web of Spirit Mythos


Terran Lux & the Lady of the Midnight Sun

The mystery of the Black Madonna or Dark Virgin has been with us historically for many centuries. These statues and figures have been found in various spiritual/religious centers throughout the world, and it is conjectured that their meaning predates Christianity. Mythic writers and historians have followed the thread of the Dark Virgin back into the ancient pagan era when she represented the Goddess at the center of the Earth. She was called Kore by some ancients, an underworld guardian of the inner sanctum. The Record of Thoth agrees with this, revealing further that the original Black Madonnas were spiritually imbued with healing and transformative energies to aid humanity in releasing its broken bonds with the earth. In early Christian times, she became the veiled or dark mother carrying upon her earthen lap the Sun King, child of her union with the cosmic divine.

Thoth has revealed a specific earth grid which he calls the Terran Lux, or Midnight (interior earth) Sun. It was installed by Melchizedek--in an 'Overlord' function, not during his actual incarnations--around 5000 BC, although Goddess sites of veneration existed long before then. This grid is composed of original sites where the Black Madonna statues were placed in order to summon the Lady of the Midnight Sun--the most ancient Goddess who hailed from the center of the earth. These sacred nodes on the Terran Lux are powerful centers of concentrated creatrix or creational feminine energies. The creational realm is the first Grail from which the earthen nature of the world developed. In order to bring the power of the universal template for our return to Light into actualization within the earthen continuum, the creational realm of the beginning time must be brought forth and wed with the present evolution of the earth. This creational realm can also be equated as Medusa, the Goddess of the Threshold.

From The Woman's Encyclopedia of Myths and Secrets, by Barbara G. Walker, Medusa is described as:

The serpent-goddess of the Libyan Amazons, representing 'female wisdom.' She was the Destroyer aspect of the Triple Goddess called Neith in Egypt, Ath-enna or Athene in North Africa. Her inscription at Sais called her "mother of all the gods, whom she bore before childbirth existed." She was the past, present and future: "All that has been, that is, and that will be."

She said: "No mortal has yet been able to lift the veil that covers me," because she was Death, and to see her face to face was to die. . . She was veiled also because she was the Future, which always wears a veil. . . A female face surrounded by serpent-hair was an ancient, widely recognized symbol of divine female wisdom, and equally of the 'wise blood' that supposedly gave women their divine powers.

In the context of this article, Medusa is not death, but pre-life--the crucible from which elemental life arises and is received by spiritual animation and wisdom. The Grail King's path to kingship involves accessing this prenatal primordial state, and subsequently opening the pathways of its illuminal birthing into the current-time realm, for the planetary consciousness to access at large.

The Terran Lux grid creates a portal into the central sun atoma (Holy of Holies) of the earth, which registers vibrationally as the Magda archetype, or the feminine center (negative pole) of the matter realm. The central sun or atoma of the planet is a balanced masculine-feminine dynamic in its entirety. Within the relativistic perception of the surface Earth experience, the outer shell of this central sun atoma is masculine, while the inner 'white core' is the feminine. However, if one could view this white core it would appear black, as it is masked by an inversion of its Light-atoms--a type of black hole phenomenon; thus the name springs forth--the 'Lady of the Midnight Sun.'

Other archetypal expressions which have a close similarity to the Black Madonna would be: Asherah, Isis, Hera--also the more ancient Amazonian Hiera, Kore, Magda, Mari, Anna-Nin/Anna/ Ana/Hannah, Sophia. These are the major ones only.

The Kali archetype also has a resonance with the Black Madonna. The primary similarity being that they both hold the primeval power of dissolution which precedes re-creation. However Kali is not as culturally and archetypally multi-faceted as is the Black Madonna. The Black Madonna archetype(s) represent specific 'nodes' on the Goddess grid, which incorporate cross-cultural consciousness codes that have come together into a coherent expression at specific points in time.

There have been many holy Orders involved in the continuing installation, maintenance and perpetuation of the Terran Lux grid throughout history. The first were the Druids, after the original installation by Melchizedek (as an Overlord). Also involved were the Knights Templar, the Cathars, the Cauldri (additional information on the Cauldri follows in the section on Chartres) and to some extent the Culdees. Several pagan Orders played their role as well, groups such as the Ninane and the Khemal. The latter, while being pagan, were also of early Hebraic origin. Many of the Khemal's beliefs and practices influenced early Hebraic mystery work and religion. The place of the divine primal feminine energy, in this latter instance, was given the name of 'Asherah,' which translates as 'a grove.' Historically, 'Asherah' is said to be the Semitic name for the great Goddess, but through the Record of Thoth this name can be traced much further back in time, all the way to the Rutan-Atlanteans.

In the spiritual center of the surface earth's Terran Lux grid is a tri-pole or 'Ilu,' an ancient name meaning 'connective.' The Ilu holds a plane of connective energy, and serves as a rotational field that adjusts energies in the grid before they interact with the center vault. The sacred geo-physical sites on the Earth which form this tri-pole are Montserrat, Spain; Chartres, France; and Lourdes, France. The center vault is at Glastonbury Tor in England. This matrix functions as a pulsing, breathing energy moving from the outer nodes into the three-pole Ilu, which then creates a spinning field around the center point. From the Ilu, the energies are fed into the center at Glastonbury and then into the center of the planet, to circulate back again into the other outer nodes.

At Montserrat, Chartres, and Lourdes, the Black Madonna statues are present. At Lourdes her presence is in the form of two statues in the Lourdes New Parish Church. Both of these statues represent the Lady of Montserrat--one is an exact duplicate--as witnessed by the inscriptions at their base. The Record of Thoth reveals that these statues in Lourdes are rather recent additions, but in more ancient times, an 'original' Black Madonna statue was located there, having been eventually destroyed by those who superstitiously feared her presence in that past age.

The central vault of the Terran Lux grid at Glastonbury Tor does not now contain, nor has it ever, a statue of the Black Madonna. Rather, this point is held by the suspended form of Torhannah, who is the vibrational presence, in semi-living flesh, of the Black Madonna in the earth. Briefly, Torhannah is an Egyptian-Atlantean priestess whose body form lies suspended within the Tor in a dimension slightly removed from our own. Like Saint Bernadette of Lourdes, whose uncorrupted body is displayed in the Hospice of Nevers, France, Torhannah lies 'sleeping' in a crystal casket beneath the Tor, holding the veiled divine feminine presence in genetic form for the Earth.

As an earth-stellar dynamic, the Terran Lux earth grid holds the pure Light codes of primeval Prima Matra, which is not only original state inviolate matter, but also the vibration of the first and inviolate 'Mother' consciousness. This grid is essential for the retrieval of the Planetary Genius at the center of the earth, which will be transported into the New Earth Star at the ascension.

As an earthen Grail dynamic, the Terran Lux holds the codes for Grail blood patterning within a pure earth-energy context, from whence arises the Eve/Isis/Mari passage of the Goddess--and thus the 'natural' Grail--through the evolutionary movement of the feminine (negative) polarity in the earth. In other words, as an earthen Grail dynamic, the Terran Lux grid is a medium for storage, updating and transmission of pure Grail genetic codes. As these codes go through the evolutionary movement necessary to bridge the Alpha-Omega points on the earth; the development of the archetypal Goddess as witnessed in the Eve/Isis/Mari progression, are representative of the feminine (negative) polarity movement inherent in the overall planetary evolution. In fact, the two are very synergic, because from the perspective we have assumed for the purposes of this article; the Grail genetic codes represent the true balance of feminine-masculine polarities. On the other hand, the primary faces of archetypal Goddess seek to maintain/restore that balance upon the earth.

The consciousness represented in the Terran Lux grid originated as a result of specific souls whose sentient awareness triggered very deep primal memory fields within their communal time lines, going all the way back into the heart of their soul's beginnings with the current human race. These individuals' personal and tribal spiritual processes (dreamtime shamanic, et cetera) served as the trigger mechanism for these deep primal memories. Ultimately, the consciousness mechanism of this grid is meant to revivify the blood consciousness of mankind, through continuing revelation of the divine heart within matter.

The primary factor which triggers or attenuates the dynamics of the Terran Lux grid at its various nodes upon the earth is the process of veneration/awareness levied by sentient souls at the various Terran Lux grid sites. Any points on the grid which no longer contain that veneration dynamic become dormant. In like manner, the ebb and flow of that sentient veneration can also alter the dynamics of any given point in the grid. Significantly, even comparatively modern Black Madonna statues can equally hold their 'charge' within the grid. The active sentient veneration dynamic is much more relative to the power of any particular node than to the age, history or origins of the statues at those locations. The Terran Lux grid is able to revivify the cosmic Mother and Sun Child within the earth's experience once again, through the creation of a 'Pillar of Resurrection' in the heart-mind of all those who join the veneration dynamic themselves and are awakened by the intensity of the 'sacred presence' at these Terran Lux sites.

All sites on the Terran Lux grid that contain Black Madonnas are currently being venerated. These are NUMEROUS. The book, The Cult of the Black Virgin by Ean Begg, lists thousands of them in the 'Gazetteer' at the back of the book. The few pages before the Gazetteer have some maps of a large section of Europe pinpointing these locations.

We will now more closely examine the four major points on the Terran Lux grid we have thus far revealed, beginning with Montserrat, Spain.



The Romans called it Mons Serratus, meaning 'the saw-toothed mountain.' To the Catalans of Spain it was Montsagrat, or 'sacred mountain.' This jagged mountain rises up from the plain not far from the city of Barcelona, like a Brontosaurus astride the primeval world.

From the book, What is Montserrat (no author given):

. . . the mountain of Montserrat, particularly thanks to Germanic romanticism, has received the aura of a symbol of spiritual elevation, of inner upliftment. After reading Wilhelm Humbolt's account of his visit to the monastery (of Montserrat), Schiller said that "Montserrat sucks a man in from the outer to the inner worlds." And Goethe, towards the end of his life, wrote: "Nowhere but in his own Montserrat will a man find happiness and peace." It is not absolutely certain, however, that Wagner took his inspiration from Montserrat in writing 'Parsifal.'

Nested within the peaks of Montserrat is the Benedictine Monastery of Santa Maria de Montserrat, established in 888 AD under the monastery of Ripoll and obtaining independence as an abbey in 1410. Yet before 888 AD there is evidence of Christian hermits having dwelt there, and legends say a pagan center existed on the sacred mountain at one time in the past.

Visitors, both tourists and pilgrims alike, may stay on the grounds of the monastery and basilica complex in a hotel that was originally part of the monastery itself, at least in one section. The basilica, built in the 16th Century, is incredibly beautiful inside, containing a great deal of esoteric symbology in its artistry. The Eucharistic Mass is performed within it daily.

History also tells us that the mysterious and sacred statue of the Black Madonna known as Our Lady of Montserrat, which is now kept within the basilica at this location, was supposedly carved by St. Luke and brought to Spain by St. Peter. The statue was found in 880 AD, after having been hidden in a cave during the Moorish occupation. Pilgrims to Montserrat venerate this statue and many reported healings have taken place as a result of her presence. The Record of Thoth reveals that this is not an entirely true accounting, however.

The Lady of Montserrat statue has also been known as the Dark Star of Montserrat. According to the Record of Thoth, she was not carved by St. Luke, nor was she delivered to the sacred mountain by St. Peter, but is indeed a very holy relic. Instead, she is the artistic endeavor of a Persian named Oligimo, who was a slave of a Christian family in Antioch, Syria. He became familiar with the 'cult of the Dark Virgin' through a certain secret Order there, and saw the relationship of this cult with the 'Goddess' of his ancestors. Through a series of life threatening events, Oligimo escaped slavery, and fled to the city of Antalya in Turkey.

This was the 4th century AD, when the city of Istanbul, Turkey, was known as Constantinople. From his home-base in Antalya, Oligimo traveled to many cities in Turkey, including the famed  Constantinople. He was commissioned for his sculpture and artwork by the wealthy and powerful, for Oligimo had not been a mere peasant before his term in slavery, but an accepted artist among his own people. Because of the demand for his work in his new life post-slavery, Oligimo lived in wealth and comfort; yet always in the back of his thoughts was the Black Madonna and her Sun Child, because he remembered her as a spiritual symbol within the secret Order he had once been drawn to.

Twenty-five years after his escape from Syria, when Oligimo was 45 years of age, his young daughter, Alai, became seriously ill and was near death. Although Oligimo had lived for these many years among Christians, he was himself of an older faith. Yet one night during his vigil at the bedside of his daughter, as a blinding thunderstorm raged outside his home, Oligimo had a mystical experience in which he saw the Black Madonna with the Sun Child upon her lap. She appeared to be a living being, calling--no, demanding--his attention and reverence. He saw this Lady of the Midnight Sun place an envelope of indigo and golden Light about the still, pale form of Alai. The child's labored breathing ceased, and Oligimo prostrated himself beside her bed, begging the Black Goddess to return life to the small body of his beloved daughter.

He then heard a feminine voice speak to him clearly; "She sleeps, for awhile only. See that she is not disturbed, and in twelve hours place cloth with water and vinegar upon her lips." The Persian did as the vision bade him, and in twelve hours, when he placed the wet cloth upon Alai's cracked and swollen lips, she took a breath and her eyes slowly opened. The child was completely well within a matter of days. It was several years after this miracle in his life that the master craftsman Oligimo carved the statue now known as the Lady of Montserrat. In his vision of the Lady, while her figure and presence were sublime and her eyes radiant, he had been unable to clearly behold her features. Thus, when he carved the statue of her, he chose to give it a face which resembled his daughter Alai's.

Yet the story does not end there, for he would face many hardships in association with his labor upon the statue, including imprisonment. Oligimo was falsely accused of having received a handsome commission for his work on the statue and then keeping the piece for himself. This was a misunderstanding that led to his incarceration for 16 years. He refused to relinquish the statue, which his daughter--who was by then a grown woman--kept sequestered in a secret place. Oligimo called the statue the Terrestrial Mother. It was brought to Spain by his great-grandson, and finally found its place at Montserrat.


This is the town where the young Bernadette Soubirous beheld a series of 16 apparitions of the Lady, who, when asked by Bernadette to reveal her identity, declared, "I am the Immaculate Conception." It is noteworthy that Bernadette had never before heard of this description of the Mother of the Christed Yeshua, and, as a peasant girl who spoke only in a local French dialect, had difficulty even pronouncing the words. Upon the Lady's urging, Bernadette dug into the earth at the grotto where the apparitions had occurred. As a result, a healing spring began to flow. Although these events took place in the mid 19th century, to this day many hundreds of thousands of people a year flock to Lourdes to receive healings which take place from drinking and bathing in the waters of this heavenly spring. The Lady also requested that a chapel be built at the grotto. This was accomplished during the lifetime of Bernadette, who died of chronic illness and great suffering at the age of 35. For Bernadette, the waters did not prolong her life, just as she herself had predicted.

Annually, twice a day from Easter through October, thousands of people gather at the river near the grotto and chapel. The latter is actually a small cathedral built atop the rocks of the grotto. With lighted candles, these pilgrims walk--or are pushed in wheelchairs--in procession around a large plaza in front of the cathedral where a regal statue of Our Lady of Lourdes has been erected.

The grotto is the central spiritual center of healing power here, however, and these pilgrims wait in long lines to touch the wet rocks that Bernadette knelt before, during her apparition of the Mother of Yeshua. Many prayers for intercession and healing and angelic psalms and Ave Marias can be heard, while the peel of bells from the cathedral resound in the air. No matter your religious background or current spiritual path, it is a powerful experience to witness. One can literally feel the divine quality of so many millions of people repeating this procedure for over a century. Standing within the grotto, the presence of Spirit is strong. It is undeniable. Something unworldly and of great sweetness occurred here, and it has left its gentle imprint in the earth for all time.

The Record of Thoth reveals that centuries before Bernadette's time, even long before the Roman occupation of the region, Lourdes was a sacred site of the Black Madonna, Goddess of the Terrestrial. There are historical suggestions that the name Lourdes is derived from 'Lourda,' the name of a female companion of the Virgin Mary. The Record of Thoth verifies that Lourda, who was actually one of the female apostles, came to the area which is now Lourdes.

As stated earlier, there was once a statue of the Black Madonna in the region which was later destroyed. However, the crypt of the Abbe Pyramale, who was the Abbe of Lourdes during Bernadette's life there, and became her friend, protector, and confidant, contains a statue of the Black Madonna and Child carved with the inscription, 'Our Lady of Montserrat'--although it does not physically closely resemble the Montserrat version. In the New Lourdes Parish Church, Pyramale's crypt lies on a lower floor below the area where the main altar is located. In the church above the crypt is another Black Madonna and child, this one a closer resemblance to the original statue of the Lady of Montserrat at Montserrat, Spain.


We have not yet physically visited this site in our current lifetime, but it is one of the trinity points of the Terran Lux grid. Much has been said and written concerning the esoteric meaning and position of the Chartres Cathedral in various earth dynamics. Yet in the context of this article, we will touch only upon those specifics of Chartres Cathedral that are basic to the Terran Lux grid and the Lady of the Midnight Sun.

Louis Charpentier writes of the Black Madonna at that location in his book The Mysteries of Chartres Cathedral:

When the first Christians came to Chartres they found this statue and were amazed. They conceived a deep reverence for this prophetic Virgin and they continued to call the cave where they found her 'the Druid grotto'.

The region of Chartres was once a center for Druidism, yet even before that time, the Black Madonna had her enclave. The Record of Thoth reveals that her original following in that location was an Order called the Cauerithi, Cauldri, or Camdri--depending upon who was referring to them in that age. The word cauldron comes from 'cauldri,' which meant 'the mixing pool,' alluding to the primal blending of ethers which the ancients believed to have created the pre-natural world--that realm of being before what we know as the earth began. The Cauldri chose Chartres as their place of 'working the cauldri,' that is, interacting with the pre-natural template which they knew to be still present and to be a preformative stage of the natural world. At certain terrestrial ley line junctures, one could reach this template through the proper focus and intent, which would take the individual into the correct 'pathing.' The guardian of this pathing was the pre-natural Goddess--the Mother of the World. When the pre-natural template was touched by a human spirit, that person became integrated with her pure form, which lies beyond the distortion fields of the fallen natural realm. In Chartres Cathedral, there is a statue of Yeshua, described by Blanche Merz, in her book, Points of Cosmic Energy:

Under the feet of Christ is found an allegory for the two terrestrial rays: the two serpents advance from both sides but under Christ's power they cannot intersect. The initiate of the building thus underscores the ability to neutralize these intersections by a force, whatever be the name given to it.

The statue reveals the possible superiority of a spiritual influence over a terrestrial dynamic which often slips stealthily beneath our feet.

And so it was that the Cauldri knew Chartres to contain a touch point with the pre-natural template, if one knew how to access it, in which the touching of the two terrestrial rays could be suspended in order to enter the world of pure form--which is essentially the Presence of the Divine or the Way of the White Stone.

There are 14 streams converging beneath the choir area of the Chartres Cathedral. Blanche Merz describes the Black Madonna's relationship to these streams at Chartres:

In the basement of the cathedral of Chartres these 14 streams are symbolized by seven doves around the Black Virgin (the Earth), a dove having two beaks (2X7=14).

This Virgin is also known by the name of Notre Dame of Beneath-the-Earth and she is also called the 'Virgin of the Druids.'

The '14 streams' not only equate symbolically, but through the medium of water, carry the 14 strands of consciousness within the 14 permutations of Osiris. This signifies the Black Madonna of Chartres' role as the veiled or hidden Isis, delving into the depths of the earth to retrieve the 'lost' portions of the Grail King (Osiris).

There is the perpetuation of an ancient ritual connected with the Lady of the Midnight Sun, which was begun by what Thoth calls the 'Templates' and the 'Sacred Three,' who were a remnant group of Melchizedekean Priests and Priestesses that migrated from Atlantis.This Order attempted to continue some of the ancient communications and veneration of the subterranean Goddess that had been promulgated by the Melchizedekean Order of Atlantis. The Record of Thoth reveals that these rituals were called the 'Cama-Lot.' However, in order for the rituals to take place, a virgin girl with a specific degree of Grail blood, and who had certain specific astrological aspects accompanying her birth, was a necessary element in the ceremonies. The young girl was to become the oracle of the subterranean Goddess--'The Lady of the Nether,' as the Templates and Sacred Three referred to her. It was not until the 12th century AD, however, that they actually chose a virgin in France.

It is important for us to briefly expand on the activities of the Templates and the Sacred Three, which led eventually to the choosing of this virgin in 12th century France. Obviously, an enormously long period of time elapsed (app. 10,000 years) between the original merging of purpose between these Orders, and when the virgin was chosen. The resurrection of the 'Cama-Lot' rituals was only a small aspect of the greater purpose for which these Orders came together, but it is the one which relates directly to the subject matter of this article. The resurrection of these rituals had to occur as a result of other factors involved in the deeper purpose that the Templates and Sacred Three had come together to facilitate. The knowledge of the Cama-Lot rituals was passed along and kept intact for that entire period of time, a remarkable feat in itself. Certain groupings of souls needed to incarnate together at specific times and places in the planetary experience to effect the greater purpose of this merged Order, which would then allow the Cama-Lot rituals to be re-enacted for the benefit of humanity as an aspect of the greater plan.

As that lengthy period of time progressed, the Templates and Sacred Three cloaked themselves within the Druid expression, and even later within such Orders as the Templars. Information was given on this Order as gleaned from the Record of Thoth:

There were those within the outer defiled (by then) Druidic circle, who suspected that the Cama-Lot rituals had been reborn and sought to once again destroy them--as had the fallen priests and priestesses of Atlantis.

Circumstances finally came together in 12th century France, and a young virgin named Lorraine was chosen. It is not that she was the only suitable woman on the earth for the role by any means, but rather it was her soul destiny to fulfil it. The Dark Order had other plans, however, and sometime after she had bore a child by the name of Camellia, Lorraine was murdered. This effectively dealt the final blow to any hopes of resurrecting the ancient rituals of Cama-Lot. There is much more that could be related on this story, but it would take another article to do so. However, other oracles worked with the Nether Goddess and her statues within subterranean crypts beneath such sacred mounds as the one upon which Chartres Cathedral was built, thereby keeping the consciousness of the Lady of the Midnight Sun alive.

As an aside on the Cauldri/Culdee/Cathari: the Record of Thoth indicates that the Cauldri had a strong connection to the 'Culdee,' which were connected to the roots of the Cathari; so there is a distant link between these three factions, which worked in various capacities in the Terran Lux grid as well.

The Cathari were interactive with this grid to some degree through their work in the labyrinths, and actually performed their most effective work within the labyrinths of the Cathar strongholds. This work was the most sacred of all the 'Johannine' consciousness work they accomplished. They were not aware of the Terran Lux grid itself for the most part, however. There were those in the Johannine Church which were aware of the grid and did actively work with it, but the Terran Lux dynamic was not a primary focus in the Johannine Church by any means.


Here we find the center of the whole Terran Lux earth grid. Located in Somerset, England, this mystical site is one of the holiest on the planet. It forms the 6th chakra in the Ascension Temple for earth. In both temple formats, the center point is located at Tor Hill. On our Grahiel journey in June--July of 1998, we climbed this sacred mound, and entered into process with the suspended form of Torhannah in her crystal sarcophagus within the Tor. She is no statue in wood or stone, but of semi-living flesh. Although her soul is only present as an over-lighting presence--she went on to incarnate as Mari Anna, the Mother of Yeshua--there is a holographic form which can be projected from her suspended body through the crystal vault containing it. This hologram is not just an image, however; it is imbued with her living soul presence.

This holy site is the central point which brings the entire Terran Lux grid into cohesion with the Holy of Holies in the center of the earth.

The Terran Lux and the Holy Blood

Some of the information in this section of the article will be redundant to that imparted in the last issue, but is needed here to complete the picture on the Terran Lux & the Lady of the Midnight Sun properly.

From the book, The Cult of the Black Virgin, by Ean Begg:

As my researches continued it became increasingly obvious that the cult of the Black Virgin and the history of the Merovingian bloodline were inextricably linked.

The Merovingians are but one branch of the Yeshua-Grail lineage through Yeshua and Mari Magdalene's son, John Martinus; but it is a very prominent branch, for it attempted to establish the royal hierarchy of Yeshua as a governing authority on the planet. It failed. There are many reasons for this failure, but essentially it was because the members of the Merovingians who were involved in this attempt, like the Pendragons, contained serious karmic flaws in their service to Spirit. Yet the Merovingians did understand who they were and why they were being given an opportunity by the Universal Hierarchy to change the course of history. The Merovingians supported the cause of the Templates and the Sacred Three, and they continued to endow and protect the sites of the Nether Lady in the hopes that the greater ritual would one day be restored. Meanwhile, they secretly participated in other related ancient rites and oracle procedures conducted in subterranean grottos.

The current Yeshua Grail lineage links to the Black Madonna and the ancient rituals of the Melchizedekean Order via the first Cathars. These Cathars were considered to be within the Johannine Church expression because they were actual descendants of St. John the Beloved. These descendants of St. John's resulted from his sacred marriage with 'Lucinda.' She was a woman of Celtic, Hebraic and Roman blood, with Grail blood carried through her Celtic-Hebraic lineage. A descendent under John and Lucinda married a descendent under Yeshua and Mary of Magdalene, thus creating the 'Cathar' branch of the family. Of course, not all followers of the Cathar religion were of this family bloodline; but those of the inner Order were from the 'Delphanos' branch of the Catharines (cath-ar-eens), which were the direct descendants of St. John. It was thus fitting that the first Cathars, from the Church of Johannine, should become the guardians of both the Black Madonna statue of St. John and the Catharine branch of the Holy Family. The overall guardianship of this innermost Holy Family is under the greater Order of Zain, but the Cathars were ordained through the Johannine Church to be the active agent of that guardianship.

One of the treasured relics taken from the Cathar stronghold of Montsegur, France, just before its fall to the Inquisition, was a statue of the Christian Black Madonna crafted by St. John on the Isle of Patmos. It was a simple artwork, for John was not a skilled craftsman; but it was and is a venerated talisman, empowered by St. John during his mystical trances, through which he imparted the Book of Revelation.

The Catharines still continue the rites and rituals of the Black Madonna, which are the Melchizedekean rituals of the Nether Goddess. They have not been able to re-create the Cama-Lot, but the ancient related rituals are performed by certain members of this family.


Meditation With the Lady of the Midnight Sun

The Atlanteans referred to the 'Jewels of the Midnight Sun,' which may be employed yet today in a meditation which will facilitate a deeper connection between your energy bodies and the Lady of the Midnight Sun.

In the Atlantean mythos, these jewels were said to radiate out of the crown of the queen who veils the Midnight Sun. She is the aspect of the divine feminine that protects humanity's inner sight from the overwhelming power of spiritual beauty emanating from this innermost portal of transcendent Spirit. It is through this portal that we may behold the multidimensional brilliance of the divine within ourselves. The veiled lady allows us to gaze into the light unharmed, until we are ready to receive the full illumination of the divine inner sun. The jewels of the lady are to be found within her crown or aura, and are eight in number. They are identified with these earthen gemstones:

1)  Ruby/Garnet

2)  Golden Topaz

3)  Blue Sapphire

4)  Emerald

5)  Moonstone

6)  Tourmaline

7)  Rose Quartz

8)  Diamond

Bring yourself into a deep meditative state, and then visualize these gemstones encircling your crown chakra, pouring a 'veil' of holy Light around and throughout the rest of the body from that point. Dive into your deepest point of inner knowing, where you perceive this veil to be Light which is filtered through the veil of the Lady of the Midnight Sun, as she adjusts the frequency, in an act of compassion and grace, to that which you are ready and able to receive in the current moment.

As this veiled Light streams into your being, call upon the Lady of the Midnight Sun to reveal her presence to you in a unique and personal interface with your soul. Beckon to her sacred purpose to serve yours; OPEN AND RECEIVE.



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