This extract from The Harmonic Origins of the World (p58-62) shows how what are taken to be arbitrary numbers, in the narrative of the Patriarchs, expressed knowledge of planetary resonances.
above: Diagram of the Bible code of “holy mountains”: Products of the powers of five upwards and of the powers of three across, each mountain within a limiting number if note D is {60, 120, 45, 180, 720} .
Female archetype Eve, “mother of all living,” becomes Abram’s wife Sarai. Childless, Abram was encouraged (by Sarai) to have first son Ishmael by concubine Hagar, but the Lord God (the mountain god whose number sums to 345) renames Sarai as Sarah and Abram as Abraham. At a miraculous 90 years of age she gives birth to Isaac (“he laughs”), then reportedly dies at 180 years old. It is harmonically relevant that (a) the giving of heh = 5 to both Sarah and Abraham elevates them from their former selves onto the second row, “stepping up” like the god Ea in Sumeria, and that (b) Adam’s number 45 has now been doubled to 90 and can form an octaval womb in which Isaac can be born, his life to then end at the doubling of Sarah’s 90 years to 180 years.
In chapter 1, Isaac’s limit of 180 was shown useful, numerically embracing the lunar year and the Jupiter and Saturn synods as 120, 135, and 128, respectively, in units one-tenth of a lunar month. It is also interesting that it is Abram who first follows the god El Shaddai (= 345), while the gematria of ABRAM sums to 35 = 243 (three to the fifth power), a harmonic root leading to the later revelation (to Moses) of El Shaddai as YHWH, by five powers of prime 5 that then match Abram’s five powers of prime 3, in fact YHWH = 10.5.6.5 = 105 x 65 = 777, 600,000 as Moses (777) leading the children of Israel (600,000) out of enslavement.
It is Isaac’s grandson Joseph who came to express the lowest patriarchal limit of 125 required to express the lower heavenly patrix1 (patriarchal matrix of odd prime products) of the synods of Saturn (1), the moon (15), Adam (45), Uranus (125),2 and Jupiter (135) then conflated with his twelve great grandsons. This implies that the core of the story of the patriarchs was informed by the need to preserve astro-harmonic knowledge.
nomenclature of Pete Dello.
Third outer planet, Uranus, only appears properly on the mountain for 1,440 where the planet becomes 1,000 matrix units.
Unexpectedly, three more chapter were written to conclude Sacred Geometry in Ancient Goddess Cultures, on Cambodian temple Angkor Wat and Rome’s St Peter’s Basilica.
Here is a taster of the later chapters.
figure: the punctuation of towers and western outlook. Possibly a funerial building for the king, it could be used as a living observatory and complex counting platform for studying the time periods of the sun, the moon, and even the planetary synods.
Chapter 9 is on the design of Angkor Wat and chapter 10 is on St Peter’s basilica in Rome (see below). Some early articles on these can be accessed on this site, most easily through the search function, tag cloud and tags on this post..
As you can see, my books partly emerge through work presented on this website. This has been an important way of working. And whilst I am providing some ways of working that could be duplicated by others, at its heart, my purpose is to show that the celestial environment of our living planet appears to have been perfectly organized according to a numerical scheme.
My results do not rely on modern techniques yet I have had to avail myself of modern techniques and gadgets to work out what the ancient techniques arrived at over hundreds if not thousands of years.
My basic proposal is that ancient astronomers learned of the pattern of time in the sky by counting days and months between events on the horizon or amongst the fixed stars. Triangles enabled the planetary motions to be compared as ratios between synodic periods.
Renowned psychiatrist Carl Jung had an intellectual friend in Wolfgang Pauli, a leading theoretical scientist in the development of quantum mechanics who had offered (with others) a third perspective to the deterministic physics of Newton and relativistic physics of Einstein. For example, Pauli’s Exclusion Principle explained how sub atomic particles of the same type could be connected to each other (entangled) on the level of the very small.
Dream analysis with Carl Jung opened Pauli up to the inner worlds of alchemy, archetypes, and dreams. Pauli recounted his dreams to Jung who would analyze their symbolism. One dream is of special interest here since it concerned a cosmic clock with two discs with a common center: one vertical and the other horizontal. The vertical disc was blue with a silver lining upon which were 32 divisions and the hand of a clock pointing to a division. The horizontal disc was divided into four differently colored quadrants, surrounded by a golden ring.
above: A visualization of Pauli’s report of his dream of the Cosmic Clock. The black bird would traditionally be a member of the Corvus or Crow family. In the original one sees 32 rings punctuating the outer ring. below:Jane Roberts colored it, noting it resembled Ezekiel’s vision.
image: The Gothic cathedral of Cologne by night, by Robert Breuer CC-SA 3.0
On the matter of facades of Gothic cathedrals, I hark back to previous work (February 2018) on Cologne cathedral. This was published in a past website that was destroyed by its RAID backup system!
As we have seen with Chartres, some excellent lithographs with scales can often exist online from which one can interpret their sacred geometrical form and even the possible measures used to build that form. The Gothic norm for a facade seem more closely followed at Cologne facade which has two towers of (nearly) equal height.
We saw at Chartres that an underlying geometry using multiple squares may have been used to define a facade and bend it towards a suitable presentation of astronomical time, in a hidden world view that God’s heaven for the Earth is actually to be found in the sky as a pattern of time. This knowledge emerged with the megaliths and, in the medieval, it appeared again in monumental religious buildings built by masons who had inherited a passed-down but secret tradition.
A Prologue to Cathedral Music
In my book Matrix of Creation I observed that the Lunar Year of 12 months appear to be like Plato’s World Soul, of 6:8::9:12 only raised by a fifth (3/2) to be (9:12::13.5:18). The number 12 is then the 12 lunar months of the lunar year and the 13.5 are the 13.5 lunations which are the synodic period of Jupiter (398.88 days). The synod of Saturn (378 days) is then caught between the 12 and 13.5, near the geometric mean of the octave 9::18, as a location known to tuning theory as the upper Just tritone of 64/45 (= 1.422), a prime example of the diabolicusin music. That is the Moon appears to be a central part and factor of an astronomical instrumentality relating Jupiter and Saturn, the two outer gas giants of the solar system.
Without knowledge of geocentric astronomy, megalithic metrology, sacred geometry, and the study of numbers (the four higher parts or Quadrivium of the Traditional Arts), it is impossible to read such monuments, and the truths placed within them.
The Double Square
The properties of the double square, here proposed as a vertical 2 by 1 rectangle embracing the whole facade, are to be seen in many other posts you might want to reference (this link opens a new search tab). It seemed to me that the key orientation was the crossing of the lower square’s diagonals, a location where Chartres has its Rose Window and in this case, the domed top of a major rectangular window.
Referring to the diagram below, the bottom square is the cosmic octave’s “ballast” of 9 lunar months and the top square the “active portion” of an octave in which 12 lunar months (or lunar year) is the fourth note of the octave uplifted numerically by 3/2. Saturn’s synod of 12.8 months is 12.8/9 = 64/45, musically √2 which is the length of the lower square’s diagonals which cross the arch of the main window. The red arrow thus signifies by its arc the location of Saturn as the tritone (geometric mean) of the octave.
The Façade of Cologne as the double octave of Plato’s World Soul elevated by 3/2.
The left tower is slightly lower that the right, indicating that the Saturn synod (378) is less than the Jupiter synod (399). Musically, Jupiter is 3/2 is the fifth in the octave 9::18, numerically 13.5 lunar months. If one halves the right side of the upper square into two, this is where the fifth belongs and this point is also a whole tone (9/8) above the lunar year, whilst Saturn is 16/15 above the lunar year as 12.8 lunar months.
Plato’s World Soul, transformed
In a single figure, the transformation of Plato’s World Soul of 6:8::9:12, as simplest solution, then masked the hidden doctrine that, in lunar months, the very same is implemented in the relationship of the outer giant planets to the Moon as lunar year but trasformed by a musical fifth. The dominant and subdominant are the lunar year and Jupiter synod, with the Saturn synod providing the “satanic” tritone which acts in denial of the octave “god”. This octave of 19::18 has only survived in the Supplemental Glyphs of the Olmec (additional to long counts), who appear to have received it from the collapsing Bronze Age of the Eastern Mediterranean around 1500 BC (see my Sacred Number and the Lords of Time).
Abandoning the geocentric perspective of the planets for the heliocentric “washed away [this] baby with the bathwater”, that the moon was the intermediary in simple numbers of months of the principle of cosmic harmony in the higher worlds. Holding us back from seeing the old perspective is our fond belief that cosmic design was part of religious fantasies in which God, gods or angels had made the sky of the earth. Whilst we know so much about space, time has been neglected for its astronomical action upon the present moment within which change is the prime phenomena, as the Buddha said “change is the only thing that does not change.”
Our modern globes are based upon political boundaries and geographical topography yet they had geometrical predecessors which described the world as an image, a diagram or schemata. By some act of intuition, an original Idea for the form of the Earth had become established as a simple two-dimensional geometry, very like eastern mandalas.
Figure 1 Photo of the Cosmati Pavement at Westminster Abbey [Copyright: Dean and Chapter of Westminster]
Such a diagram came to be built into the Cosmati pavement of Westminster Abbey, this installed during the reign of Henry III as a gift from the Pope and one or more Cosmati master craftsmen. It was dedicated to the Saxon King (and Saint) Edward, the Confessor. This exotic pavement became the focus for the Coronations of subsequent English then British monarchs. Its presence at the heart of English then British king-making is part of what is called the Matter of Britain, one of many Mysteries as to the meaning of its design.
Square roots turn out to have a strange relationship to the fundaments of the world. The square root of 2, found as the diagonal of a unit square, and the square root of 3 of the diametric across a cube; these are the simplest expressions of two and three dimensions, in area and volume. This can be shown graphically as:
The first two roots “open up” the possibilities of three-dimensional space.
