Metrology of Chartres Labyrinth

first published on my Square Space blog on November 26, 2006

The picture below is a composite of three things

  1. The Chartres eleven level labyrinth discussed in chapter seven.
  2. The iconography of Thoth as Pi within the circle (from Temple of Man).
  3. The hexagonal number 19 as circles
Figure 1 Geometry of Thoth and 19 packed circles overlaid the Labyrinth

The 22 units of the 21 unit sector of Thoth’s fathom correspond to 19 “cogs” of the circumference of the Chartre labyrinth.

It is fabulous that the cogs are used to define, by their centres, the perimeter as the unit called ped manualis by the buildersaccording to John James (the foremost investigator of that cathedral’s construction order – see his website).

Whilst the ped manualis is a Royal Foot, 8/7, in Neal’s Standard Geographical variation (times 126/125 and times 176/175), it is also close to 22/19 feet (different by 8 thousandths of an inch and 99.94% accurate). Thus whilst 19 cogs equal 22 units, the cogs are 22/19 which times 19 is 22 feet – plus 19 is a hexagonal number and there is the motif of six petals in the centre.

The entire circumference is, like the iconography of Thoth, 6 x 22 = 132 feet long. Using Pi at 22/7, the 22s cancel and the result is a diameter of 6 x 7 or 42 English feet. Like the Scottish brochs, the units directly interpret the ideal value of Pi itself as 22/7, employing as it does the prime numbers 11/7 that also define "Ancient Model of the World".

Kaaba’s Numerical Picture of Harmonic Origins

A recent plan of the Kaaba[1] indicates that its walls, by their odd-number proportionality, symbolised the numerical origins of musical harmony through the first six numbers, 1, 2, 3, 4, 5 & 6, sometimes called the Senarius meaning “existence out of six”.

According to Plato, the world was created using the rules of musical harmony in a scheme involving perfect fifths of 3/2, fourths of 4/3 and tones of 9/8, leaving “leftover” semitones of 256/243: a rudimentary musical scale. This only used prime numbers 2 and 3 and multiplications with themselves and each other; a system called Pythagorean tuning. The Kaaba incorporates another prime number 5, called the human number, this enabling two more large intervals called thirds, the major third of 5/4 and minor third of 6/5. Using 5 enables more and better scales to be formed and fills in the gap between 4 and 6 to show all the large intervals in the first six numbers, 1:2:3:4:5:6. This fuller tuning system has been found in the ancient Near East as long ago as the Sumerians, in their tuning texts on cuneiform (c. 3000 BC onwards).

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Three Keys to the Kaaba

first published 2016

The prophet Mohammad declared himself the last prophet of Allah, a name resembling the El Shaddai (trans. Lord God, KJV) of Abraham in the Bible. Mohammad galvanised the Arabs and nearby nations with an original religion, branching off from the start of the Patriarchs found in the Bible’s first book, Genesis. His story follows Ishmael, the first son of Abraham, from whom the Arabs believe themselves descended.

The Kaaba’s of Abraham (left) and Mohammad

Mohammad’s religion of Islam (“salvation”) started in Mecca where he received visions of angels and spontaneously recited suras (verses) which became the Quran and associated texts. An unknown history of Abraham and Ishmael emerged, intimate with Mecca, long a spiritual centre for the Arabs. Mecca’s principle monument, the Kaaba or “cube”, has taken a number of forms. Adam located it as a dolmen created by God when Adam was formed; Ishmael built the next design for his father, “open to the sky”, using surface stones from nearby mountains; and Mohammad’s dispensation adds ancient stories about cubic arks and located these as a renewed Kaaba, the prime centre, or Pole of redemption for the world.

The three keys will be the Kaaba as Ark, Pole (Qutub) and model of Great Time.

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