5

          The point is, why bother? If Auroville had already made its choice to throw out ‘mathematics’ and ‘astrology’ in 1974, why go to these lengths, why steal from the very person whose work in that field they themselves have trashed time and again, and continue to do so? It is a tactic of the Lord of Falsehood, whose reign continues throughout the world, to disfigure the true thing for unsuspecting seekers. Added to this is the question of donations. It is known that these arts are central to Indian culture. An unsuspecting public will surely be more apt to donate if it is led to believe that the sacred is alive and well in the Auroville Matrimandir. But with these Chronicles the deception is brought to an end.

What was lost
The first point to note is that the Mother redesigned Sri Aurobindo’s symbol in May of 1964. Without this no correspondences with the Pyramid – and much more – would have been possible. This was not arbitrary and whimsical, contrary to what Paulette of Auroville has suggested to MAC (letter dated 23.2.2003). The change was in utter and perfect synchronicity with Sri Aurobindo’s supramental process at that very time.
         In its complete form according to the official design, which includes details of the inner square, the deepest secrets of the Supramental Manifestation are contained. Above all, there is the formula for Supermind’s organisation for Earth use. And these great mysteries form the core of the knowledge the Mother captured in her plan of the inner chamber. Not fanciful, whimsical, and purposeless, as Auroville would have us believe. Rather, we see the Mother as the architect of the Transcendent’s Will, impeccable in her transposition of that Will into material creation, the field of the number 9, the Transcendent’s own number in the new supramental Order.
         We know that the Mother ‘did not see the outside’ and that this was to be the contribution of the collectivity, as explained in Chronicle 5. Ironically, it is that very contribution that exposes the shadow covering the Auroville Matrimandir. For Sri Aurobindo’s symbol inserted in the Shalagrama, as in our diagram, reveals how it must serve as the ‘support’ for the Chamber, just as Sri Aurobindo did in his own lifetime for his collaborator, the Mother.
          But while his support is essential for the Chamber, it must be noted that without the inner chamber of the Mother’s Divine Measure, no symbol of Sri Aurobindo arises in the Shalagrama – as if to prove via sacred geometry, ‘Without him, I exist not, without me, he is unmanifest.’ Only the Supermind could ‘organise’ a display of sacred geometry and architecture that would so elegantly and exquisitely give FORM to the Mother’s words.
          When the Chamber is superimposed on the Shalagrama, the same 24m floor diameter ending at the walls is seen to rest exactly on the base of Sri Aurobindo’s ascending triangle. The area is encircled in the diagram below (B). If the diameter is altered in any way, the room cannot find the required ‘support’ from Sri Aurobindo’s ascending triangle. Therefore, the Mother insisted that ‘the 24 metres end at the walls’. Not a whimsical and purposeless idea. This was an explicit command from the Divine Executor of the Transcendent’s Will. Similarly, the pillars enclose the square of his symbol and mark off the triangles’ sides (ascending sides and descending base) at the precise location specified by the Mother. This area is encircled in the diagram, below (A). Again, not whimsical and approximate but exact as only the Supramental Shakti can be.

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