"...the constellation Virgo, which in fact rises just before the star Arcturus." (Virgo)

And there appeared a great wonder in heaven; a woman clothed with the sun, and the moon under her feet, and upon her head a crown of twelve stars: And she being with child cried, travailing in birth, and pained to be delivered. - Rev. 12:1,2

"Thus, in conclusion, we greet Mary as the great sign in the heavens which precedes the coming of her Son, because the mother always precedes the son. We greet her as the one who at Fatima wanted to bring peace to the world if we fulfilled the demands of her maternal heart... We greet her as the Victor in all the battles of God, and as the Mother of the Church who will bring the Good Friday of the Church to an end and give it a new Easter." - Bishop Rudolph Graber, Fatima Advancing Rapidly Towards Final Fulfillment (929)

A New Easter? Of course. The feast of the Mother Goddess, Ishtar.
During the Renaissance, that medieval period when the occult traditions flooded Europe from the Mideast, Chartres Cathedral was built on a sacred site in France where ancient Druids worshipped the Mother Goddess. A World Heritage Site famous for its Gothic architecture—and, to the initiated, its thoroughly pagan symbolism—Chartres Cathedral is known to occultists as the 'Golden Book' that reinstated the philosophy of classical Greece in the mainstream of Christian Europe. The cathedral expresses through 'sacred geometry' and astrological symbolism the Gnostic belief that "Man can compass his salvation by means of knowledge", referring to gnosis. Within its massive structure was housed a mystery school which operated as a theological academy for over two centuries. In the underground crypt of the cathedral, initiates worshipped a replica of a Druidic statue known as the 'Virgini Pariturae' or 'the virgin about to give birth'. The Templar Chronicles calls the Virgini Pariturae "the Virgo who must give birth".

The statue in the underground chapel was also called Our Lady Under the Earth because the crypt, where initiations took place, was believed to be connected to telluric powers, i.e. the underworld. On the west front of Chartres Cathedral is featured in the tympanum of the right portal—the Gate of Birth—a statue identical to the Virgini Pariturae in the underground chamber. The exterior icon was and still is venerated by the profane masses of Catholics as Mary, the 'Mother of God'. Exoterically the white virgin on the west facade is the Blessed Virgin Mary who gave birth two thousand years ago; but esoterically, she is the black virgin who was still pregnant with child.

"The Druid's love of inner journeys and their visions inspired their prophesies about the woman that would bring a saviour into the world. This pregnant woman is the black madonna we often find in medieval shrines throughout Europe. If the white virgin is the one who has already given birth, the black virgin is the pregnant woman of the druid's vision." (931)

The photos below show 'Mary' in a position identical to the other Black Virgins we have seen above—enthroned and with a child on her lap, or rather between her thighs!! The Gemini figures, representing twins, are difficult to recognize; see the left arch on a level with the twelve apostles.

Chartres Cathedral
West Facade, Right Portal, Incarnation of Christ, 1145-55. God before Time.
Virgin and Christ Child Enthroned. Throne of Wisdom.
Left on arch: Gemini, a sign of the Zodiac

The occult symbolism of this most famous of the medieval cathedrals is discussed in the Masonic book, Rosslyn: Guardian of the Secrets of the Holy Grail. According to authors Tim Wallace-Murphy and Marilyn Hopkins, the seven mystical cathedrals of Europe were deliberately founded on Druidic sites dedicated to planetary oracles. There is a prophecy that, when the planets align in the same configuration as the cathedrals, the time of transition into the New Age will have arrived. The sacred site upon which Chartres Cathedral was erected was dedicated by the Druids to the Sun.

"The Druids, like most initiatory tribal cultures, woshipped the principle of the Eternal Feminine as the source of all fertility. Julius Caesar describes, in de Bello Gallico, the veneration accorded to a fire-blackened, female figurine which was worshipped at a Druidic sacred grotto at Carnutum, now the modern city of Chartres...—a fertility symbol he called Virgini Pariturae, the virgin about to give birth... It was at Chartres that the Church adopted the veneration of the fire-blackened, Druidic figurine Virgini Pariturae in the guise of the Black Madonna. A medieval replica of the Druidic figure is found in the crypt, which the official guide states categorically was used as an initiation chamber. " (266:49,163)

The Virgin portrayed in the west facade of Chartres Cathedral is called the 'Virgini Pariturae', which means "the virgin about to give birth". This statue does not represent Mary or the Biblical concept of womanhood, but the archetypal goddesses of fertility and the 'feminine principle'. Since Chartres was dedicated to the Sun-God, the child of the sculpture is Horus, not Jesus Christ. The following excerpt from Rosslyn reveals how Gnostic occultism engulfed Western Christendom through the occult infiltration of the Roman Church.

"The revelations of the ancient mysteries brought about a deep insight into the laws of all natural phenomena, revealing the very unity in nature which is the mainspring of creation, and the importance of the principle of the eternal feminine. To commemorate this heretical and pagan concept, they carved a replica of the Druidic statue 'Virgini Pariturae', the virgin about to give birth, which had been a focus of worship at Chartres in pre-Christian times. To avoid persecution and to enable this powerful symbol to exert its influence the statue was carved in the guise of Mary the Mother of God with the infant Jesus seated on her lap. This symbolic representation of fertility and the archetypal feminine rests in the crypt of Chartres to this day. It is known as Notre-Dame de Sous-Terre—Our Lady Under the Earth. A replica of this figurine was then carved in the place of honour above the main portal of the cathedral. After many years of theological dispute with the Orthodox Church in the East, Roman Catholicism had at long last stumbled across the perfect answer to the problems posed by the ambiguities inherent in the title 'Mother of God'. In emphasizing Mary's role, the Church was fulfilling a deep and long-felt need among its adherents by importing the pagan principle of the eternal feminine into the previously male-dominated and patriarchal realm of the Holy Trinity. Early Christians had taken up the theology of St. Paul which described Jesus as the 'Second Adam'. They then fell into the theological trap by calling Mary the 'Second Eve', so reviving the old pagan concept of the divine son/spouse relationship as found in the Ishtar and Tammuz cult of ancient Babylonia and in the worship of Isis and Osiris in Pharaonic Egypt. This form of veneration also incorporated the concept of Sophia the goddess of Wisdom. The Church attempted to exert control over this Marian cult in its traditional manner by taking over pre-Christian forms of worship and sacred sites dedicated to various goddesses, renaming them in honour of the Holy Virgin. The symbolism, prayers and litanies associated with Demeter, Cybele, Ishtar and Isis were adopted and given a Christian veneer. (266:87-89)