The Code Zone

"Is This How Sacred Symbols Are Born? Part II

You've just entered a realm somewhere outside the bounds of conventional wisdom... a world of words and ideas... a place where reality can shift at any given tnemom. See what I mean? Welcome to... The CodeZone.

This week's installment is a continuation from last week where we asked the question: "Is This How Sacred Symbols Are Born? "

Last week we saw how the Code Tree was born seemingly out of not much more than intuition and a lot of nice synchronicities that just "magically" fell into place. And that, really, is the point of relating this tale of the creation of these symbols. The symbols are intriguing, in and of themselves, but the process by which they became manifest within this 3-D reality is the real focus here. It's as if the symbols somehow existed in an archetypal form prior to becoming manifest in the here-and-now. Indeed, there is not a single element in the composition of these two symbols (the Code Tree and the Symbol Of Unity which we'll get to in a minute) which did not exist already in other forms within our historical 3-D reality: the numbers, the geometric shapes, the Hebrew Tree Of Life, the Egyptian mythology (discussed below), the layout of sacred objects at Rennes le Chateau, and so on. What is new, is the unique form these elements took, at the end of the process, in their final manifestation.

This week we'll look at another sequence of synchronicities which not only reshaped the Code Tree but which also spawned the birth of yet another very intriguing symbol involving Rennes Le Chateau and the Birth Of Horus. Horus, you may recall, was the mythological son of the goddess, Isis. Isis is said to be represented by the unusual star-pentagram formed by the layout of sacred sites at Rennes Le Chateau. For the benefit of those visitors to CAUS who missed CodeZone No.5 in which we discussed Isis, Rennes Le Chateau, and Horus, the following is a short review. This will help put us all on the same page and it will help a great deal when we get to the discription of our "New Symbol Of Unity".

Rennes Le Chateau is a quiet little village situated on the top of a mountain a few miles from the French city of Carcassone. The area is reknown for its rich history of secret societies, mystery cults, Druids, Celts, Romans, Cathars (who were apparently goddess worshippers), and Knights Templar. At this mountain top site there are a number of churches and sacred "earth mounds" placed here and there over some forty square miles of land. Sometime, I think perhaps late 1800's - early 1900s, a fellow named Henry Lincoln discovered something about the geographic layout of these sacred places that was so amazing it could not have been created by the element of chance. Looking at a map of the area he noticed that if a straight line were drawn from one church to another, like connecting dots, the result was a pentagram, or five pointed star, with an unusual feature: the uppermost point of the pentagram was elongated. That is, if the pentagram were circumscribed within a circle, with the perimeter touching the star points, the uppermost point of the pentagram extended beyond the circle. Still, all the points retained perfect 36 degree angles. Many years later, cartographer, David Wood and his partner Ian Campbell, conducted an intensive investigation of this unusual layout and of the history of the surrounding area. They established that the Pentagram was intended to symbolize the body of the Egyptian Goddess, Isis (also known as Inanna). The upper left and right star points are her two arms. The lower left and right star points are her two legs. The uppermost point represents her head. Furthermore, on close examination, it was found that the pentagram was, in fact, circumscribed by a "circle of churches". In other words, the cathedrals and castles and other markers (totalling 15 in all), were not just randomly located over this forty square miles of mountainous terrain. They were placed, each in it's particular location, in such a way as to create a near perfect circle surrounding the "invisible" pentagram. The number 15 is important here because it ties in with the legend of the Egyptian god, Osiris who was chopped into 15 pieces and his dismembered body parts strewn throughout the land. One of the severed body parts was his penis (Sorry guys. I'll pause a moment while you recover from the thought).

Now, Isis was the wife of Osiris (no, she didn't do the deed like Lorena Bobbit although her regenerated husband is now revered as a god in the porno industry!). Isis searched for the missing phallus, found it, and through a bit of practical magic was able to use it to impregnate herself, thus giving birth to Horus. It has been speculated that the 15 point circle around the body of the Goddess (the pentagram) may represent the 15 pieces of the body of Osiris.

[Regarding that idea, here's an amusing side note. Notice the lower two star points of the Pentagram represent the two legs of the Goddess. The legs are spread and, of course, are joined at the center in an inverted V. My friend and collegue, Michael Lawrence Morton, refers to this spot as the "Vulva Point" for obvious reasons. I just noticed recently that one of the 15 points which form the Circle is dead center at the bottom of the Circle, directly in line with the Vulva Point of the Pentagram. If one were to draw a line upward from this node on the Circle it would directly intersect with the Vulva Point. Is it possible that this particular node represents the Phallus of Osiris?]

Figure 1 shows the original Code Tree, the development of which was the subject of last week's CodeZone. This illustration shows the basic Code Tree in its original configuration. The illustration shows the singular Code Tree in black with another Code Tree (in blue) growing upward out of it. The reason for this was discussed last week. What we want to focus on here is the singular Tree in black. As we will see, certain events and new data resulted in a slight change in this basic configuration. But before we get to that, notice the Tree is equally divided in half across line 4 - 5. Essentially this divides the Tree into two chambers, upper and lower. The Lower Chamber is comprised of the numbers 1, 2, 3, 4, 5. The Upper Chamber is comprised of the numbers 4, 5, 6, 7, 8. Notice the sum of the Lower Chamber numbers is 15 and the sum of the Upper Chamber is twice that, or 30. We will see how these numbers became synchronistically significant in light of the following event:

One night, a few days after the birth of the Code Tree, I was preparing to get some sleep for the night. I decided to pick up DeAnna Emerson's book (Mars/Earth Enigma) just for a quick browse before heading off into Dreamland. The first page I just happened to turn to had a picture of the Rennes Le Chateau area showing the elongated pentagram. Now, if you'll look at the Code Tree's 4-5-9 elongated triangle (Figure 1), the point of which passes through the upper chamber, you'll see what struck me as a remarkable similarity to the Rennes Le Chateau pentagram. The Tree Paths of 4-6 and 5-6 created approximately the same angles as those of the lower two points of the Rennes Le Chateau pentagram (see the map). The 7-8 horizontal, however, was farther up from center, than that which forms the horizontal of the RLC pentagram. Nevertheless, it struck me as interesting.

The synchronicity (as in "meaningful coincidence") of that observation wouldn't leave me alone. The RLC pentagram, with it's unusual elongated point, kept rolling around in the back of my mind. So, as we're supposed to do when synchs turn up, I decided to act on it. It seemed to be tugging at my sleeve like a little kid wanting some attention.

I studied the RLC pentagram to see just how it was composed. Then I recreated it on my graphics program and overlaid it on top of the CodeTree. The angle 4-5-9 (see CodeZone No.6 for a discussion of how these numbers, 4-5-9, alphanumerically generate the infamous 666) was exactly the same. That was a hint indicating this was going someplace. After several hours of figuring angle degrees, and so on, I saw how the Code Tree could be revised, with just the slightest alteration, to perfectly accommodate the RLC geometry, if the RLC geometry were superimposed over the Code Tree chambers. And there were other hints that this was destined to come together.

In Deanna's book I read that the RLC pentagram could only be created via the 15-point circle. As mentioned above, the number 15 is generated in the first chamber up from the "0". It is comprised of 1+2+3+4+5=15. The Upper Chamber is double 15 with 4+5+6+7+8=30. Therefore, superimposing the RLC geometry onto both the upper and lower chambers seemed reasonable and the results were at once amusing and amazing in terms of what then developed. Figure 3 shows the sequence of patterns which emerged, eventually ending up in what I've called the "Symbol Of Unity" (the 4th object from the right, in Figure 3).

It was exciting how this just naturally evolved once I saw the large "6" and "9" shapes in the Tree. The circular portions of each number, 6 and 9, are composed of the 15-point RLC Circle circumscribing the extended pentagram of the goddess. The "stems" of each number, 6 and 9, are the "leg/arm" angles of the RLC Pentagram. The 15-point circle in the lower chamber formed the "6". The circle in the upper chamber formed the "9". The result was a sort of new version of the traditional Yin Yang symbol.

Again, referring to Figure 3, on the far left is the Tree with the RLC circle and the pentagram of the goddess in both the upper and lower chambers. Next, the Circles and Pentagram are shown without the tree. This shows how they form the numbers 6 and 9. Next, are the intertwined 6 and 9. Following that, is the stylized symbol derived from this "69". And, finally, the image on the far right shows all the elements together.

There was something else here that I didn't show graphically. The Circles also have the capacity to form two more numbers: 8 and 3. I noticed 8+3+6+9 = 26 = GOD, and 26 is the number of letters in the alphabet.

I was quite impressed with this new "Symbol of Unity" which emerged from the Tree. In addition to the symbolism already mentioned, there was something I found even more amazing. The two large circles of the "6" and "9" formed a kind of Vesica Piscis which created a third element in the shape of an eye. Given that this was all the result of the pentagram symbol of the goddess, Isis, who gave birth to Horus, there was no doubt in my mind, this third element must be the famous "Eye Of Horus".

In the end, it felt like I really had little to do with the creation of this symbol. It seemed more as though I were performing a midwife function; just helping the birthing process along. The symbol was in there and I just brought it out.

This whole process was a wonderful example of what can happen when one is fortunate enough to tap into what I call the archetypal matrix which, I believe, is part of the greater Collective Unconscious. Is this the way many of the world's traditional sacred symbols evolved? In any case, that's how this symbol evolved... in the CodeZone.

©2000, Gary Val Tenuta


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Visit Gary's web site which presents, in more detail, some of the ideas discussed in this series of articles: codeufo/gematria.html

His book, "The Secret Of Nine", lays out the full story of how the information presented on his web site came to be developed. It allows the reader to follow, step by step, the true life paranormal experiences, possible ET contact, and the thought processes which formed the basis of this fascinating and ongoing work.

The Secret Of Nine is a self-published work in a handsomely bound manuscript format, complete with full color cover and illustrations and color coded numbers in the section on alphanumeric patterns as seen on the web site. Readers interested in purchasing a copy of the book for $12.95 (plus $3.95 S/H within the U.S.A. or $5.95 S/H outside the U.S.A.) can email the author for information at or write to:

The Secret Of Nine
c/o Gary Val Tenuta
1022 W. Casino Rd., suite B-207
Everett, WA 98204

Gary is a freelance writer whose articles have appeared in FATE Magazine (U.S.A.), Xoddity Magazine (U.S.A.), Voices (U.S.A.), BEYOND Magazine (U.K.), and HERA Magazine (Italy). He has been a guest on several radio programs across the U.S. and Canada.

Thank you to Peter Gersten for the opportunity to reach readers via the CAUS web site.


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