Fig. 1 — pascal’s arithmetical triangle and the fibonacci sequence
Fig. 9 — the operative diagram of twelve triangles and seven squares, determining the eight constructive ratios.[1]
Fig. 11 — Aklishtakar’s diagram
Fig. 13 — triangular numbers
Fig. 14 — square numbers
Fig. 15 — pentagonal numbers
Fig. 25. – the intermediary diagram on triangles
showing the
correspondence of its elements with the signs of the zodiac and with the
letters of the Vedic “
Fig. 26. – the intermediary diagram on pentalphas
Fig. 27. – the mediating diagram
Fig. 29. – the
sephirothic tree
Fig. 31. – the
complete diagram
Fig. 33. – the
geometric tau[2]
Fig. 34 b). – the
“lo chou”
Fig. 37 a). – cosmogonic square of 5
Separating direction of Fouhi.
Fig. 37 b). – cosmogonic square of 5
Separating direction of King Wen.
Fig. 38 a). – “swastika” on the cosmogonic square of 6.
Separating direction of Fouhi.
Fig. 38 a). – “swastika” on the cosmogonic square of 5.
Separating direction of King Wen.
Fig. 40. – the rose of twelve musical pipes
CHROMATIC DISTANCES BETWEEN THE MUSICAL INTERVALS OF PTOLEMY
GENERATION OF THE DIATONIC SCALE OF PYTHAGORAS
DIATONIC DISTANCES BETWEEN THE MUSICAL INTERVALS OF PYTHAGORAS
Fig. 41. (Below) – alphabetical
wheels based on arsenic●m, showing the partitions
of the three roses and the labyrinth of
the
the quintuple hexahedron
The 3 aspects of its surface, and the aspect of its core or rhombic triacontahedron.
cubic stone
Fig. 47. – descent of the sephirothic tree into
the
various worlds of manifestation[4]
ascent of “kundalinî” through the seven
“chakras” of the human being[5]
the
But, a still more
surprising fact, the Tetragrammaton and Melchizedek,
united to the quaternary
and to the numbers 80, 81, and 322, are
also directly linked to the Pythagorean table,[7]
constituted by the products, in pairs, of the first nine numbers, the greatest
among them being 81,
the highest emblem used by the Chinese
to designate their musical pipes.
buddha’s foot
schematic plan of the royal citadel of atlantis
Scale 1 : 88,800
schematic plan of the
Scale 1 : 3,700,000
templum ezekiel[8]
chinese cosmogonic squares and pythagorean
table
Fig. I a), b), c), d),
e). – Figures giving, for the
octahedron (a),
the rhombic dodecahedron (b), the
dodecahedron (c), the icosahedron (d),
and the rhombic triacontahedron (e),
the traces, on one face of this solid, of the other faces.
Fig. I a), b), c), d),
e). – Figures giving, for the
octahedron (a), the rhombic
dodecahedron (b), the dodecahedron (c),
the icosahedron (d), and the rhombic triacontahedron (e), the traces, on one face of this solid, of the other faces.
THE 12 POLYHEDRONS
HAVING AS NUCLEUS
THE RHOMBIC TRIACONTAHEDRON (fig. 1 e).
Triacontahedron α of Mśbius
Points 5
Quintuple hexahedron
Points 7
Archimedean triacontahedron of the 3^{rd} type
Points 2 ↔ 8
Triacontahedron of Hess of the 15^{th} type
Points 10
Sextuple stephanoid of the 1^{st} group
Points 17
Thirty rhombic stephanoids of the 2^{nd} group
Points 19
Triacontahedron γ of Mśbius
Points 20
Triacontahedron of Hess of the 45^{th} type
Points 23
CORRESPONDENCE IN THE
WORLD OF “ATZILUTH”
BETWEEN THE ELEMENTS OF THE SEPHIROTHIC TREE AND
THE POLYHEDRONS HAVING AT LEAST TWO OF THEIR ELEMENTS EQUAL
Quintuple hexahedron of the 5^{th} type (BINAH)
Icosahedron of Poinsot of the 7^{th} type (GEBURAH)
Archimedean triacontagon of the 7^{th} type (HOD)
Decuple tetrahedron of the 10^{th} type (KETHER)
Archimedean icosagon of the 2^{nd} type (DAATH)
Icosahedron of the 1^{st} type (TIPHERETH)
Triacontagon of the 1^{st} type (IESOD)
Dodecahedron of the 1^{st} type (MALKUTH)
Quintuple octahedron of the 5^{th} type (CHOKMAH)
Dodecahedron of Poinsot of the 3^{rd} type (CHESED)
Archimedean triacontagon of the 3^{rd} type (NETZAH)
TABLE OF THE SIGNS OF THE ZODIAC, THE ELEMENTS, AND THE PLANETS
^ 
_ 
` 
a 
b 
c 
d 
e 
f 
g 
h 
i 

Aries 
Taurus 
Gemini 
Cancer 
Leo 
Virgo 
Libra 
Scorpio 
Sagittarius 
Capricorn 
Aquarius 
Pisces 





‚ 
€ 

♀ 
♂ 




Earth 
Water 
Air 
Fire 
Moon 
Sun 
Mercury 
Venus 
Mars 
Jupiter 
Saturn 
Caput draconis 
Cauda draconis 
[1] To facilitate the reading of the planetary and zodiacal symbols which the Author will employ continually hereafter in his “report,” a complete key to them is given, as well as a key to the symbols for the elements, on p. [*]378.
[2]
This geometric Tau, constituted by the assembly of all the diagrams invented by
the Author, is a veritable synthetic key to the Art of construction. The form
of this key, forged by the Master of the Work, is that of the great sign of
salvation, which, coming from Calvary, has traversed all Christian and Gnostic
tradition (the cross of Christ in the form of a Tau, the Tau of Saint Anthony); it bears in it the protective
and purifying virtue of the “mandalas” and the great pantacles constructed
geometrically. The origin of this symbol of salvation is the ת. This letter, the last in the Hebrew alphabet, represents the
two jambs of unequal nature and the lintel of a door (see p. [*]203), which are
sprinkled with the blood of the Pascal lamb with a bunch of hyssop, thus
constituting a magical protection for the house against the attacks of the
Destroyer (Ex. XII, 2123). This is the same sign that the prophet sees marked
on the brows of those whom Iahveh
wishes to spare (Ez. IX, 46), and here one should note the parallel between
the door and the position of the third eye, portal of the causal human body
(see p. [*]253). But the seal that the apostle found imprinted on the foreheads
of the 144,000 chosen ones (Apoc. VII, 24) is a T
on which the two lateral jambs of unequal shape are simplified to a single post
at the middle of the lintel; this is the image of the unification of contraries
at the center of the being, the last stage on the way to deliverance.
[3] These alphabetical wheels differ from each other according to the number of circles composing them. This number is transposed, for the roses, into the number of ray divisions, and for the labyrinth, into the number of concentric enclosures (see Plates X, XII, XIV).
[4] On the axis of the figure, the sephirothic influx is indicated descending into the 3 Worlds of the Manifest, whose 7 “Palaces” are represented by 7 circles, twice on the right, once on the left.
[5] 101 “nâdîs,” or luminous and subtle arteries, are associated with the 7 “chakras” (of which 6 represent the nerve plexuses in the subtle form of the human body, the seventh, “Sahasrâra,” belonging to the causal body); thus the opposition of 7 and 108 (= 7 + 101) is indicated. Of these 101 “nâdîs,” only the 3 principal ones are illustrated here. The central artery or “sushumnâ” is rectilinear, and passes through the crown of the head; it serves as a vehicle for “Kundalinî,” being in direct communication with the “Buddhi” who, in Manifestation, links the multiple states of being to each other; it corresponds to , to Fire, to the color red. The tongues of fire, which appeared on the heads of the Apostles on the day of the descent of the Holy Spirit, correspond to it. The 2 other “nâdîs,” “idâ” and “pingalâ,” ascend in a caduceus around the central artery: “idâ” relates to the Moon ‚ and to the color white, and “pingalâ” relates to the Sun € and to the color yellow. We are reminded that in Tantrism, the Fire, the Moon, and the Sun correspond to the 3 “bindus” which are the 3 aspects of the supreme principle Shiva.
[6]
The
[7] When the numbers of the Pythagorean table, read here line by line, are printed for the first time (unity), they are printed in plain type; when they repeat (multiplicity), they are printed in bold. Among the 81 numbers on the table (square number of rank 9), 36 numbers (triangular number of rank 8) are printed in plain type, and 45 numbers (triangular number of rank 9) are in bold. This typographic presentation therefore represents a mutation of 9 ↔ 8, linked to the complementary opposition of Unity and Multiplicity. The quinary, as with the constitution of ARSENIC●M, is the pivot of this mutation, because the number 25 (= 5 × 5) is in the central square of the table. (Editor’s note.)
[8] We established this plan according to the text of the Master of the Work (see Appendix XII).