When I was working on the first draft of the novel in 1992, two mornings in a row my voice, intuition, God, call it what you will said, “Your character needs to go to Chartres.” I spoke with friends who had been there and they raved of the Black Madonna in the crypt, and the labyrinth. I decided to go to Paris in 1999 for my 50th birthday, May Day. Within weeks of this decision, out of nowhere I received an invitation to participate in a conference on the Divine Mother at Chartres the first week of May. This experience was the basis for the ending of the novel.
She Dwells Everywhere
Your spiritual path is uniquely your own. It is not like anyone else’s. You do not have to go to Chartres for A Sacred Moment with the Divine Mother. Every place is sacred when there is an opening of the human heart.
My dearest one, know that you are never alone.
Whenever you need me, I am there.
In a tree, a stone, a stream, the forest, the mountains, the oceans,
a blade of grass, a rose in bloom, the moon in all her phases.
I am always with you.
In Times of Trouble (p. 215)
A woman at the conference took these pictures and sent them to me. This gives you a perspective of the Cathedral and Notre-Dame de Sous-Terre.
The epitome of Gothic architecture, Rodin called Chartres the Acropolis of France. Taller than a twelve-story building, this spiritual vault holds fifteen-thousand people when necessary. It is built on a site that was first revered by the Celtic Druids in 2000 BC as a place of pilgrimage to the Mother.
These photos show just a small section of the front the cathedral, but notice the different design of the spires. Based upon the principles of sacred geometry, one generates feminine energy, the other masculine energy; thereby setting up balanced electromagnetic frequencies within the cathedral to elevate consciousness. People are miniscule in relation to the front entrance doors. Allison’s oak tree is on the left in these photos.
The Chartres Labyrinth
You can see the darker grey stones of the labyrinth that were set in the floor in 1201. A sacred path walked by millions of pilgrims, the labyrinth’s diameter is exactly one one-millionth of the earth’s diameter. Accompanied by a quartet singing Gregorian chants, our group was fortunate to walk the labyrinth surrounded by candles on two nights. It is my understanding that most of the time, the labyrinth is cordoned off and covered by chairs. “The eye of the labyrinth is centered on a telluric hotspot with a frequency corresponding to the initiation chambers of the Pharaohs.” Freddy Silva, The Divine Blueprint, Invisible Temple, Portland, Maine, 2012, p. 270
Notre-Dame de Sous-Terre
This wooden statue carries the magic of the Chartres tradition that relates to the pre-Christian image of the Virgin who will bring forth a child. Both figures have their eyes closed in meditation. She is ancient, sacred, and miraculous. This Mother’s loving energy is vast beyond belief. You can see how small She is as I stand looking up at Her. The tapestry behind Her is chaotic. She holds The Center.
Virtually unheard of, our group was given the keys to the crypt. Alone, I sat before Notre-Dame de Sous-Terre and asked what She wanted to teach me. Time suspended. She transmitted Her wisdom in an instant. Then it took a few years to figure it all out and turn it into fiction. A moment after I received Her transmission, the woman with the camera appeared and took this photo (above).
Ancient Fresco in the Crypt at Chartres
Divine Energy Flowing Intuitively Into a Person
I was told Allison would cry down the Well of the Holy Strong Ones. I cried many tears writing this novel, but could not shed one tear at this Well. “Go home, you don’t need to act it out, we just gave it to you.” The Divine Mother has a sense of humor. “Now sit on that small throne-like seat and look up at the fresco above you.” Allison was filled with something she’d never felt before. She knew it was endless, the pure love of the Sacred Feminine, of the Divine Mother, and of God.
This ancient fresco of the hand always called to me to be on the cover of my novel. I met Sharon Walker in March 2011. She asked to paint the cover image. Although we live 450 miles apart, a few days later we shared the same vision of the hand being cobalt blue, the color of healing and the Mother.
See Cover Art Page for Sharon’s explanation of her imagery, and information about the healing possibilities of her painting.