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 “Om” (Avm).

 

 

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 Fou-hi.

 

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 Fou-hi.

 

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 church of type h (cathedral of amiens)[3]

 

 

 

 

 

 

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 ark of the covenant[6]

 

 

 

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 island of atlantis

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 3rd type

Points 2 ↔ 8

 

Triacontahedron of Hess of the 15th type

Points 10

 

Sextuple stephanoid of the 1st group

Points 17

 

Thirty rhombic stephanoids of the 2nd group

Points 19

 

Triacontahedron γ of Mśbius

Points 20

 

Triacontahedron of Hess of the 45th 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 5th type (BINAH)

 

Icosahedron of Poinsot of the 7th type (GEBURAH)

 

Archimedean triacontagon of the 7th type (HOD)

 

Decuple tetrahedron of the 10th type (KETHER)

 

Archimedean icosagon of the 2nd type (DAATH)

 

Icosahedron of the 1st type (TIPHERETH)

 

Triacontagon of the 1st type (IESOD)

 

Dodecahedron of the 1st type (MALKUTH)

 

Quintuple octahedron of the 5th type (CHOKMAH)

 

Dodecahedron of Poinsot of the 3rd type (CHESED)

 

Archimedean triacontagon of the 3rd 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, 21-23). This is the same sign that the prophet sees marked on the brows of those whom Iahveh wishes to spare (Ez. IX, 4-6), 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, 2-4) 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 Ark is surmounted by a mercy seat, covered by the wings of two “Cherubim” (symbol of the quaternary), and above it resides the “Shekinah.” It is placed in a cubic enclosure, and its volume is a straight parallelepiped of the same proportions that serve as a framework for the dwelling houses constructed according to the rules of the art.

[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).