new secrets & mysteries - 4 - chapter four - 12-1-11...

ESOTERICISM: Practical Techniques used to analyze the Esoteric ScienceThe Mysteries and the Esoteric Teachings of the Catholic Church

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CHAPTER FOUR

“O’er waiting harpstrings of the mind there sweeps a strain,Low, sad, and sweet, whose measures bind the power of pain,And wake a white-winged angel throng of thoughts, illumed

By faith, and breathed in raptured song, with Love perfumed.”i

PYTHAGOREAN MATHEMATICS& THE KAMEA OF SATURN

INTRODUCTION

Mathematics is the only objective science that man has that he can be certain of its accuracy. Yet,even this science can be abused to obtain desired results by well meaning people. Mathematics onone hand is a materialistic and practical science and on the other hand a mystical and divine science.The moment that man attempt to preserve the mystical and divine nature of this science for posterityhe defeat his purpose from the outset. Like the story of the Tower of Babel,ii preservation can only endin confusion. Man has not learned that preservation is destruction being that it is the mandate of thisscience.

The ancients in their infinite wisdom after learning the secrets of creation preserved it in the preciseformat in which it was given to them. Let us make it perfectly clear that they received their knowledgeof Creation-Mathematics, from the spiritual forces in the universe, in the very same manner in which itis received in our own time: by reason, reflection and revelation (intuition or by divine edict).

When the ancients wrote their books and built their monuments it was for posterity that theirefforts were directed. They were not egotistical enough to believe that their works would endure.They knew that time ravages all things and so on grand scales all over the world they built greatextravaganzas, depicting and explaining this esoteric science, in monuments and print. Works thatpeople of limited education would realize took a great deal of intelligence to bring about. Theseancient scholars knew that this obvious intelligence in their works would spark investigation into theirorigins and thus it was believed that a more primitive man would regain his lost heritage, as the Son ofGod, by inquiring into these anomalies.

The ancients could have gone against the spiritual mandate and attempted to give man theiracquired knowledge in well worded textbooks that outline this science from its rudimentary levels to itmost sophisticated heights. But as in all things man and time are destructive forces. What would havebeen left to inspire future generations after man and time dealt with them? Nothing, but byconforming to the will of the cosmos ancient man found a way to preserve for posterity this science.They wrote their literary works and built their monuments in the exact format in which they learned itfrom the cosmos: esoterically.

It is now our task to outline this science, inherent in the cosmos, in everyday common language,free of its esoteric garments, so that man in the twenty-first century can learn it. We know that this isagainst the spiritual mandate of the cosmos but like the ancients we are not egotistical enough tobelieve that our efforts will endure. We will be presenting the barest rudiments of this science. In thecourse of time others will aid in perfecting our knowledge of this science but eventually all our efforts


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will fade as man in the future builds his monuments and prints his books for posterity as the grandcycles of life repeats themselves.

THE UNIVERSAL MATHEMATICAL MATRIXA Preliminary Discussion

The conceptual understanding of the Universal Mathematical Matrix: the Prima Materia is anextremely important concept for the initiate to envisage. The majority of this chapter, which I call thenuts and bolts of the esoteric science, is an attempt to explain how I conceived the very concept of itand came to realized that it is the foundation of all religious on earth: it is literally the body and bloodof Christ. I came to realize that antiquity came to grasp that this Universal Mathematic Matrix, which Ihave interpreted as the Prima Materia is the Primum Mobile (the source of all life: God) reaching out tohumanity: in other words this matrix, via the concept of the monad, is the word of God manifested intocreation. This is not saying that this matrix, which is developed from the MONADiii, is God but ratherthe fleeting intuitive understandingiv of the interpretation of the concept of the MONAD is the word ofGod: Christ the Eucharist.

Mathematics, in and of itself by itself, does not exist in the world. Mathematics is an abstractconcept and it is in this manner that the prophets say that Christ took on the form of man in the flesh.However, mathematics is nothing more than a mental concept: mathematics is the root archetype thatallows man to have reason, logic, reflection, revelation and intuition. Mathematics takes on the chaosof the empyrean and orders it into a sophisticated materialistic science that humanity can envisage.Think of the chaos of the empyrean as light going through a prism: in this case mathematics. Theconcept is the same. The light split off into an infinite amount of hues into the Prima Materia. Theempyrean: i.e. primordial ooze is supreme perfection and has no order that humans can comprehend.Whereas, the light of the empyrean emanates into the Prima Materia, which is perfect order but to thehuman mind it is unconditional chaos: in this case an infinite realm of numbers, calculations andformulas: in a word the Quadrivium. Christ is not the mythological clothing: the MONAD nor theinterpretation thereof but rather the fleeting intuitive understanding of these garments esotericallyexude.

The Word ‘God’: i.e. sacred scripture is an attempt to cloth the Prima Materia; therefore, it isimpossible to define God (empyrean) with the human vernacular and only can be done indirectlythrough symbolism and only then can be grasped intellectually from a circular route and labyrinthineway of reasoning.

For example: though God is the only: i.e. the Monad; God cannot be the Monad because it limitsknowledge of His being. The Universal Mathematical Matrix: the Prima Materia is essentially a directesoteric interpretation of the Monad’s inner primordial nature and all that is envisage from theinterpretation of it is collectively the Christ; however, even that becomes an interpretation and needsto be further understood. It becomes an eternal bottomless pit of interpretations, which continuouslyneeds to be grasps intellectually for it all falls into a mythological haze. Each time something becomesunderstood it becomes conscious or exoteric and ceases to be esotericv: thus the eternal crucifixion ofChrist: the Eucharist or Manna from heaven ceases to have a life given spirit. The esoteric is not Christbut rather the interpretation of it gives us hints as to the nature of Christ. Thus the quest for the HolyGrail: Eucharist is Christ eternally crucified: His essence or life given spirit is constantly needed by themind of man: hence the need for the Eucharistic Mass (studying the sacred scriptures) on a daily basis.


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Finally on this point, let us think of the wafer Host: i.e. Eucharist when it is taken by mouth, by thecongregant, at the crucial point of the Holy Mass, which takes place daily in every Catholic Churcharound the world. This wafer Host: i.e. Eucharist goes into the body of the congregant and cast out asexcrement. What, therefore, is partaken of this wafer Host: i.e. Eucharist by the body when it isingested? Only the spiritual unction of the wafer Host: i.e. Eucharist is partaken (not the wafer:unleavened breadvi), which last but a fleeting moment: thus the wafer (unleavened bread) can be castout as excrement for it has no nutrient value whatsoever. Hence it can be said that the written word:i.e. sacred scriptures are excreted from the mind of manvii in an attempt to understand the spiritualWord of God. The sacred scriptures are likened to the wafer Host: i.e. Eucharist that needs to beingested by the mind of man in order to obtain knowledge of God. Accordingly, the Torahviii can be saidto be an eternal library on the nuances concerning knowledge of God. The quest for ‘knowledge ofGod’ (the Holy Grail symbolically represents that knowledge) is liken to the Greek mythological story ofApollo (sun) chasing Daphne (dew) as he circumnavigates the earthix. The sun chasing the dew is aneternal never-ending process. In the final analysis no one can ever say he or she has knowledge ofGod. You can only know (not believex), without understanding Him completely, that He exists.

CREATION MATHEMATICS

Creation-Mathematics comes with the realization that all was created in a moment:xi there was noBig Bangxii or Evolutionary Process.xiii (1) The universe and all that is contained therein was complete atthe dawn of its inception. (2) Man unconsciously, for comprehensional purposes reassembles thiscreation phenomenon into segmented parts bringing about a linear existence: a time line. (3) Equallyimportant is man’s ability to adapt to this totally alien environment, byrecognizing the diversity of his assets (symbols and archetypes), intuiting adivine hand in the creation of the cosmos. Hence the formation of religionwith all its creeds and dogma, (4) and by studying his world man was able tosee order in the cosmos where only an Inferno (2-linear existence) andPurgatory (3-dogmatic views) reigned supreme.

Here in the above paragraph is the entire law of the universe. It is adefinition of the Pythagorean Tetractys. It is not the only definition but it iscomplete and definitive within itself. There are many ways to define the Pythagorean Tetractysxivandmore than one is needed to grasp what the Tetractys is conveying.

One author writes: “NUMBERS RELATED TO FORM. Pythagoras taught that the dot symbolized thepower of the number 1, the line the power of the number 2, the surface the power of the number 3, andthe solid the power of the number 4”.xv In the same volume he quotes Theon of Smyrna: “The ten dotsof Tetractys of Pythagoras was a symbol of the greatest importance for to the discerning mind itrevealed the mystery of the universal nature. The Pythagoreans bound themselves by the followingoath: ‘by Him who gave to our soul the Tetractys, which hath the fountain and root of ever-springing nature’”.xvi

This was an oath, as the oath indicates, to the unknown Godxvii that Saint Paul in the New Testamenttalks about. Only God can give the soul/psyche anything and this selfsame God is whom the Christians,and all religions around the world, worship.

From the earliest Ionian philosophers we see the Greeks explaining the Tetractys. They may nothave called it that but their teachings indicate their objective. One teaches the world is made of Fire(1),xviii another of Earth (2), yet another of Air (3),xix and another of Water (4).xx These are the four


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basic elements of creation: also known as the triplicities of Astrology.xxi It is obvious that theseteachers taught in concert with each other. They were not antagonistic factions bickering amongstthemselves. To teach the Seven Liberal Artsxxii one must firstteach the rudiments of each of these before we can demonstratethey are collectively one unified and integrated science.xxiii TheIonians’ objective was the same.

Let us take a very obvious clue from the Tetractys itself. Werecognize that the Tetractys has the same format as bowling pins:two pins behind the first pin, three pins behind the second row,and four pins behind the third row.

There are properties inherent in numbers that man isunfamiliar with. For instance, if modern man were to takes eachnumber and uses it, in relationship to the other eight numbers, toits fullest potential within the confines of the nine digits he willcome across a startling discovery. It is literally a simple idea andsomething modern man should have been aware of about numbers but somehow these nuancesescape his individual and collective observations and awareness.

By taking each number and going out to its fullest value and down nine times using themathematical device of casting-out-nines, until repetition sets in, we discovered that the numbers arepaired off into sets. We do not use the number nine because there would be a column with the samearray of numbers (#9s). We find that the columns in “1 & 8”, “2 & 7”, 3 & 6”, and “4 & 5” are paired offbecause they have the same format as each other. Each column in each set is opposite and mysticallyformatted to its counterpart. By studying the columns of each set it is seen that they are in reversenumerical order of each other. These numerical opposites are the foundation of the Kundalini patternthat was discovered in the first four days of Genesis concerning the seven-day week).

Let me pause here and explain the origin of the Kundalini serpent from this array of numbers. Thereare four sets “1 & 8” represent Mars, “2 & 7” represent Venus, 3 & 6” represent Mercury, and “4 & 5”represent the Moon and the Sun respectively. The Moon and Sun in the first chapter of Genesis representElohym and Yahweh respectively. Thus in these number sequences two serpents emerge one coiled 3½times around the Tree of Life (Yahweh’s) and one around the Kabbalistic Tree of Life/Tree of theKnowledge of Good and Evil (PLATE 4:1).

As it will be seen, at least on a conceptual level, that this would also suggest two different forms ofAstrology one each for the Sun and Moon. Michelangelo painted the ‘Temptation and Expulsion of Adamand Eve from the Garden of Eden’ on the ceiling of the Sistine Chapel depicting two serpents wrappedaround the tree in the garden. It will also be seen from this idea that these numbers point to each serpentwrapped around their own tree crossing each other diametrically opposite to each other actually creatingthe Cross of Christ.

By studying these eight groups of numbers it is seen that each column belonging to numbers “1, 2,4, 5, 7, and 8” are repetitious of the previous column, as if each column represented a circle. When Ifirst envisaged this above chart I had no idea that the multiplication tables were involved. I was merelyfollowing the logic of the numerical digits and taking it as far as I could. Another point about thecolumns of these six numbers is that each column is emitting a “Multiplication Table” for the number itrepresents. The only anomalies are found in numbers “3 & 6”, which have their own peculiarities,which will be gone into in greater detail below. Let us point out that the numbers “3 & 6” are


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consistent in being peculiar from the rest of the numbers for them to be considered a law untothemselves.

This above chart begins the mystical nature of numbers. This simple device literally represents thedawn of all major religions on earth though it does not appear that way at the moment. Merely bytaking cognizance that there are different quantities of people,places and things in the world humanity commences its thoughtprocesses in the areas of numerical data. Numerical data is notjust a materialistic device to be used in commerce but rather itis a very spiritual and mystical one. It is incumbent upon theinitiate to discern the interrelationship that the nine-basicnumerical integers have with each other.

One of the most interesting confirmations that I havepersonally obtained validating these insights into the mysticalnature of numbers was a painting found in an eleventh centurymanuscript of Saint John’s Revelations.xxiv Here we see that theartist has Saint John and each of his seven commentators usingtheir hands, fingers & clothing to pair themselves off in thesame numerical patterns as outlined in the chart above. Thoughin my chart above the bottom row is in reverse order from this painting: the numerical data is thesame: 1 & 8, 2 & 7, 3 & 6, 4 & 5. I have changed the format in my chart merely to allow the pattern tobe discerned by the reader with a greater ease: these numbers that are paired into sets as they are inthe eight groups of numbers, in the above chart and painting is precedent in history and we can giveseveral examples.

THE GAME OF CHESS has two Castles, two Knights, two Bishops, and a Queen and a King. TheCastles (or rooks) are astrologically orientated to signs “1 & 8” (Aries & Scorpio), which is oriented tothe planet Mars, the god of war. The Knights are associatedwith the Astrological signs “3 & 6” (Gemini & Virgo) that areorientated to Mercury the messenger of the gods. Here lies oneof those quirks concerning the numbers “3 & 6”. Going towardsthe Sun from Mars the planet Venus should be next but on theChessboard and even in the Zodiac Cycle there is a deliberateswitching of positions between the planets Mercury & Venus,which appears to be indifferent to their true placements in thesolar system. This was not done to force the creation of thegame of Chess or the science of Astrology. As the chart abovedemonstrates they are placed in the natural array, in the severalformats, that the unfolding of the arithmetical data appoints forthem. There are actually many historical references to the arrayof planets in this peculiar lineup. One side of the chessboard shows the planets as they appear fromthe naked eye as they are in our solar system. The other side of the chessboard implies some kind ofmystical transference between Mercury and Venus. The Bishops are orientated to the Astrologicalsigns “2 & 7” (Taurus & Libra). The Queen is associated with the Moon “4” (Cancer), which is called theQueen of Heaven and the King, is associated with the Sun “5” (Leo), which is called the King of Heaven.This is symbolically the same as the ‘Lion’ being the King of the Jungle. This array of pieces on a


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Chessboard conforms to the same mathematical principles as indicated in the ‘Origin of Numbers’chart above. Historically speaking humanity has no clue as to how the Game of Chess and/or began(see any history on Chess and/or Astrology). I suggest that both the Game of Chess and Astrologybegan with this numerical system being introduced in this work.

The Sun Signs in Astrologyxxv orientates the Seven Planets to the Zodiac constellations. Each set ofnumbers is aligned to one of the planets: “1 & 8” to Mars, “2 & 7” to Venus, “3 & 6” to Mercury, and “4& 5” to the Moon & Sun respectively. This coincides with the Game of Chess though they are separateexamples. What would appear to be two diverse examples is actually the same example when lookedat from the astrological & numerical points of view.

The first two chapters of Genesis have a great deal of mathematical information, as we have alreadybeen witness to, but notice the word “good”xxvi in used in the text of the first chapter of Genesis.xxvii

This data in the first chapter of Genesis coincides with our discussion on the pattern inherent in thefirst eight numbers.

Day One uses the word ‘good’ once.

Days “2” does not use the word ‘good’.Days “2 & 7” are actually opposites because the second day speaks of Heaven and we will see thatthe seventh day is Hell. The second chapter of Genesis does use the word ‘good’ but this is inreference to another pattern altogether. We are here speaking of a pattern that is unique to thefirst chapter of Genesis where the second chapter is not even considered part of the first creationaccount as we have already seen.

Days “3 & 6” each use the word ‘good’ twice. Days “3 & 6” are opposites because the third dayspeaks of the Vegetable Kingdom and the sixth day speaks of the Animal Kingdom.

Days “4 & 5” each use the word ‘good’ once. Days “4 & 5” are opposites because the fourth Dayspeaks of the Sun, Moon, and Stars and the fifth day speaks of the depths of the sea.

This above is obviously a play off of the mathematical pattern of the first eight numbers and theirassociations to the planets and the constellations of the Zodiac. Most people would tend to think thatthese mathematical patterns were one great coincidence and that it was not planned by the PrimaMateria, which emanates from the Empyrean: God to reflectxxviii this mathematical phenomenoninherent in the first eight numbers. That would be taking credulity too far, especially after what wehave witnessed in previous chapters.

Such mathematical precision is never found in a random narrative. What I mean by this is thatwhen a person speaks he talks in a manner peculiar to himself. He will use words that reflect his owncharacter and mindset. If you were to pick out a dozen different people off the street or even a dozenacademics and ask them to repeat the first chapter of Genesis they will access their own linguisticdatabase, peculiar to themselves, to augment their memory of what they read. This is randomaccessing. Not one of them will repeat word for word exactly what they read or if they do give them atext they have not had the time to memorize and the results would be random accessing. What thishas to do with the sacred scriptures is that when a person sits down to write a text as I am presentlydoing on my PC I have neither the time nor the wherewithal to esoterically code this text. I really donot know how to do it other than to record what I have observed. Whereas, who is Moses, or anybodyelse for that matter, to be able to do it any differently? I am not saying that when we speak and writewe do not write esoterically. We certainly do. It is just that the mundane activities of the average manare gibberish to the crucified esoteric lingo. To record the conversations and historical events of anyera, in order to place them into the universal spiritual system of thought, would necessitate having the


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text modified scientifically to reflect the esoteric nature within those histories. The historiesthemselves are merely linguistic guides, with word patterns, that aid the initiate in understanding theesoteric science.

THE CAPRICORN SYMBOL

Another point about the numbers “3 & 6” is that in the Game of Chess and in Astrology, Mercury isallowed to take the place of Venus. This is seen in a number of literary works.xxix So it is no accident orignorant placement of a planet. All systems that we are looking at are showing us a mystical alignmentof the planet Mercury (messenger of the gods). By this mystical displacement seen in the separateliterary works we can envisage the Capricorn Symbolxxx permanently dominating the universe. We willdiscuss the Capricorn Symbol in the first chapter of Genesis’ in the CYCLE OF DARKNESS in the chapteron the Cycles of Divine Creation. In Dante’s La Divina Commedia we will go further into this idea of theCapricorn symbol.

What this means is that when considering moving, say on the chessboard, horizontally from theCastle (Mars), to the Knight (Mercury), to the Bishop (Venus), to the Queen (Moon), or even movingalong the curve of the Zodiac, in relationship to their constellations, the results are the same: theCapricorn symbol is depicted.

Mars has a natural loop to loop that Johannes Kepler found himself wrestling with when workingout the laws of planetary motion. This was his most difficult obstacle in working through his thesis.This loop to loop seems to be outlined here in this mathematical system. Take a pencil in hand andtrace the Mars to the Moon and/or Mars to the Sun (or vice versa) scenarios and we find that we havea large container within the universe at large. It is when considering this V-shape [The Sun is the apexof the V-shape] that is manifested with the Mars to the Moon and Mars to the Sun (or vice versa)scenarios that the artist’s pencil must continue on from the Sun to Mars, to Jupiter and then on toSaturn and the universe at large. What we have is a solar system-wide Capricorn Symbol.

Nothing is being forced here whatsoever: it exudes from the mathematics. What I am doing isfollowing the logic of the mathematical patterns inherent in numbers. It may well be and probably isthat our universe is nothing but an extrapolation of the first nine numbers. As empty souls we comeinto this world subjectively thinking everything is organic and/or transitory in its very composition notknowing of the eternal mathematical principles underling all things. It is these eternal principles thatthe ancients esoterically codified for us.

Take notice of the Chess pieces movements: the King moves one space like the dot of thePythagorean Tetractys, which the #1 implies: Fire, the Bishop moves in a straight line like the #2: Earth,the Knight moves like the #3 (combine both Castle & Bishop movements) in an angle: Air, and theQueen moves in all directions like #4: Water. Thus Astrology & Chess were created to mimic theuniversal laws of numbers: The Tetractys.

THE MULTIPLICATION TABLES

The mathematics as outlined by the matrix above ‘Origin of Number’ is, as I have already pointedout, the foundation of the multiplication tables up to the first nine numbers. It is important tounderstand that this idea of the multiplication tables coming out of the aeons is not as crazy as itsounds. Notice that every Grammar School student studies the multiplication tables. The black andwhite composition bookxxxi that is a very familiar object in the hands of these Grammar School students


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has a chart of the multiplication tables up to the number twelve: similar to the one shown here. It ishard to believe that the key to ancient spirituality was at man’s fingertips all the time but he had noidea of its important other then indoctrinating his children into the ways of the material world.

The world appears to work on the order of familiarizing humanity with the very tools it will need forits spiritual journey. In fact the world would not exist withoutthese tools. But by the time a child is of teenage years he hasnot been taught the significance of anything and therefore heknows it all

If someone was to stumble onto this ancient tool the rest ofhumanity would place its hand to its mouth as if to yawn,saying, “BORING” and thus this pattern would not be given theserious consideration that it deserves.

We have come a long way from meditating on the ancientGreek device known as the Tetractys. From that little devicehave come these discoveries into the depth of mathematics. Think about it for a minute. All that Ihave done is to put a little thought into the matter and now you the reader are privy to some of theancient methods.

THE UNIVERSAL MATHEMATICAL MATRIX:A 10 x 10 MATRIX

Above we created a chart called the ‘THE ORIGIN OF NUMBERS’. From this little chart it wasreasoned that each number’s last column should be sectioned outand placed side by side with all the other numbers’ columns todetermine if any pattern would develop. The last column wasincluded in this construct [Origin of Numbers Matrix –1] becausethe bottom row was all nines and because it fitted into the casting-out-nine in the multiplication tables. When taking the time toanalyze this matrix it can be seen to be the same design in all fourdirections except the first row and columns are missing. We will begetting to that in a minute. The next thing done with this matrix wasto study it for any other patterns that may be within its precincts. Ihad been working for years on Dante Alighieri’s La Divina Commediaand discovered that his epic poem was patterned mathematicallyafter a little device called the Kamea of Saturn. The unique thingabout this device when analyzed is that it gave up certain numericalsequences from four different directions on its surface. With just acursory study of the Kamea of Saturn in relationship to the Origin ofNumbers Matrix – 1 its horizontal columns coincides with thepairing of the #2 & #7 (4-9-2, 3-5-7, 8-1-6) and its vertical columnscoincides with the pairing of the #4 & #5 (4-3-8, 9-5-1, 2-7-6). Thiscan be seen from all four directions on the Origin of Numbers Matrix – 1 diagram.

Diagonally the #1 & #8 (1-2-3, 4-5-6, 7-8-9), and the #3 & #6 (1-4-7, 2-5-8, 3-6-9) are apparentlymapped out in the Kamea of Saturn. These four separate patterns of both the matrix and the kamea


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can only be interpreted as the four basic elements: Fire, Earth, Air, and Water. Notice how the #3 & #6actually give off the pattern of the Quadruplicities of Astrology: Cardinal, Fixed, & Mutable as if tostake out its claim to that nuance. These patterns found in the “#1 & #8 and #3 & #6” are called theSigil (signature) of Saturn. It was extremely curious to find that the pairing of numbers (1 & 8, 2 & 7, 3& 6, 4 & 5) [Origin of Numbers Matrix – 2] coincided with those patterns found in the Kamea of Saturn:notice the reverse patterns in each of the eight numbers withineach individual pairing. When taking the time to analyze thisUniversal Mathematical Matrix it can be seen to be the samedesign in all four directions except for the first row and columnsare missing. We will be getting to that in a minute. I want tostress that when such discoveries are made I found myselfpropelled by the serendipitous nature of the discovery. Inother words I had no choice but to continue on with theanalysis to see where it would take me.

There are many curiosities in the analysis and in the puttingtogether of this construct. Notice how in the Origin ofNumbers Matrix – 1 the #3 & #6 pattern had to be replicatedover and over again until all of the nine cells in its columnswere filled. This is just another of those peculiarities found inrelationship to the #3 & #6. The ‘Origin of Numbers Matrix – 1’as seen above is not complete. This is obvious from there notbeing a row & column of #9s flanking the top and left side ofthe matrix. What we have to realize with this matrix, before wecap it with a row & column of #9s, is that it is at this moment a9 x 9 matrix, which is known, in and of itself by itself, as theKamea of the Moon. It will be seen in all its glory in the analysisof Dante’s La Divina Commedia. The fact that mystically thismatrix began with a 9 x 9 square cannot be accidental thoughthe reader cannot help but see it just that way. There is muchmore to learn on this idea that the individual is going to have toreason out for himself.

The Mutable Quadruplicities of Astrology: numbers havebeen blackened out in The Origin of Numbers Matrix -3. Thisproduces 12-threes, 12-sixes, & 40-nines. The Cardinal andFixed numbers have been left white to illustrate that each oftheir numbers are used 6-times. Notice how the MutableQuadruplicity numbers form a perfect 3 x 3 square likened tothe Kamea of Saturn. It is confirmation like this thatencourages me to believe that the matrix I had conceived outof a simple thought process, on the Greek Tetractys, is a validavenue to pursue. It is now appropriate to analyze this matrix with a greater emphasis towards detail:not that this has not already been done with an eye towards detail but rather now I will do so to verifyand validate the work that has already been done. Not to analyze such a matrix that has come to usout of the aeons would be sacrilegious in every way. It would be like throwing away precious


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resources (the baby with the bath water). How are the separate numerical pairs grouped within thismatrix heedless of the other numbers?

Notice once again how the #3 & #6 have usurped the other numbers. There are twice as many #3s& #6s as there are in the #1s, #2s, #4s, #5s, #7s and #8s. This nuance of the #3s & #6s having twice asmuch as the other numbers, as has been pointed out previously, is illustrated in the first chapter ofGenesis and in the game of Chess and in Astrology with the Gemini twins. I have called this completedmatrix ‘The Universal Mathematical Matrix: The Prima Materia’ because it emanates directly from theEmpyrean: the Monad. It will be seen how Dante Alighieri used this The Universal MathematicalMatrix to create his compositional structure and how it was used to structure the first chapter ofGenesisxxxii. Here in this diagram I have shaded each of the Quadruplicities. It can be seen, by casting-out-nines in the multiplication tables that it turns into a beautiful 10 x 10 matrix.

THE UNIVERSAL MATHEMATICAL MATRIXEMANATES FROM THE EMPYREAN

When the light of the Empyrean emanates into the world it does so in the form of infinite variationsof the opposites. From the Monad (number one) comes this Universal Mathematical Matrix: The PrimaMateria. It can be seen that in number one’s multiplication table: i.e. numbers two through nine eachimitate the Monad (number one). Each subsequent number’s (2 – 9 ad infinitum) multiplication tableimitates the number one’s multiplication table by each digit’s multiple sequences: meaning that 2, 4, 6,8… is an imitation of the number one by virtue that each sequence in the series is the first, second,third, forth, etc. etc. in imitating the sequence of the number one’s multiplication table: i.e. 2-represents one two, 4-represents two twos, 6-represent three twos and 8-represents four twos, etc.,etc. None of the other multiplication tables imitate each other in anyway. Each of the infinitemultiplication tables can only imitate the first multiplication table.

From the waters of creation (the unconscious mind) the infinite realm of opposites (archetypes)exuded from the Empyrean is cosmically structured. What I mean by the use of the word ‘cosmic orcosmically’ is undifferentiated chaos (unconscious mind); however, within that chaos is its ownstructurexxxiii, which the conscious mind knows nothing of. Nevertheless, the conscious mind doesobtain its ability to organize data logically and scientifically (to create societies and civilizations and allmany of inventions) from this inherent structure from the cosmic order of the unconscious mind. Theevidence of this is in the fact that the Universal Mathematical Matrix: The Prima Materia, which is aperfect square, is derived from the MONAD.

ANALYZING THE UNIVERSALMATHEMATICAL MATRIX

Below the Universal Mathematical Matrix’s nine basic digits are analyzed according to each of theirvarious positions 1-100. Here it is easily seen that the #100 is apparently mandated by the aeons. Asthis chapter continues we will analyze this matrix several ways. Below I have the UniversalMathematical Matrix numbered 1-100 and below that is a study of each of the 9-digits positions in thistable. I will go into a further analysis of this matrix in the next chapter when we talk about DanteAlighieri’s La Divina Commedia.


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There are many nuances within this study. The first six numbers analyzed are 1, 2, 4, 5, 7 and 8 andthat is because each of these numbers is used only six times each. The #3 and #6 are each used twelvetimes and the #9 is used forty times. The 1, 2, 4, 5, 7, 8 give off apattern, which denotes that the Cardinal Sign #1s, #4s, and #7shave a separate and distinct mathematical pattern then that ofthe Fixed Signs #2s, #5s and #8s. This pattern is that the CardinalSign digits #1, #4 and #7 cell count use only those positions in thematrix that used either the Fixed or Mutable Signs numbers,whereas the Fixed Signs digits #2, #5, #8 cell count use only theCardinal Signs numbers. This is extremely significant seeing that Ihave found, outlined in the second chapter of this volume, thatthe Cycle of Light uses only Cardinal and Mutable Signs and theCycle of Heaven uses only Fixed Signs. We have seen where the#2 always attempts to displace the #1 and this is a prime exampleof #2 mandate to push #1 aside or to boldly absorb it and take itsplace.

Notice how digit #1 in the above analyze uses only #3s and #8spositions and that digit#4 uses #5s and #6s positions and digit #7 uses #2s and #9s positions. All thishas a direct bearing on the overall analysis of this Universal Mathematical Matrix. They would appearto be pairing off opposites but it is something more than that.

These six digits #1s, #2s, #4s, #5s, #7s, #8s in this analysis each have a total of 303 and when dividedby six, amount of times each is used, has a quotients is 50.5.Dante Alighieri does something pretty impressive with theseselfsame numbers in the matrix.

As we view digits #3s and #6s we see a dance of the numbersusing the same numerical sequence as we saw with the digits#1s, #4s, and #7s. Notice that digits #3s and #6s do not use anyof the Cardinal Signs positions that the digits #2s, #5s, and #8suse. The total of each of these digits #3s and #6s is 606, whichproduces an average of 50.5.

The digit #9s uses forty positions also have a unique patternchoreographing the dance of the numbers. The first and last tennumbers appear in the Universal Mathematical Matrix appear tobe a standing honor guard. The central twenty #9s also gives us adance of the pattern demonstrated in all the digits except digits#2s, #5s, and #8s. Yet, even these numbers are honor insofar asthe pattern they imposed upon the matrix is also exuded here.The positions #1s, #4s and #7s are highlighted n the digits #2s,#5s, and #8s, and they are not mentioned in the digits #3s and#6s. Here in the digit #9s we find that each of the positions withthe common denominator of #1-#9 are used at the very least four times. The #1s positions are used sixtimes and positions #4s and #7s are used each five times.

This points a finger at the #1s, #4s, and #7s positions earmarking them above the other positions ofthe matrix. Those that quench their curiosity and venture to discover what it is these numbers point


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to: let it be said now that they point to the origin of the two trees in the Garden of Eden. They are thepillars of the Kamea of Saturn.

When the entire Universal Mathematical Matrix is analysis in relations to all its positions’ numbers itis found that the #1s position is the only number that has an average of50.5. Interestingly enough we find that the pairs #2 & #9, #3 & #8, #4 & #7,#5 & #6 each combine to be averaged out at 50.5. The Cardinal Signs allcombine to have an average of 50.5, whereas the Fixed Signs average out at50.0 and the Mutable Signs average out to 51.0. All the quadruplicitiescollectively average out to 50.5.

In the analysis on the Great Pyramid’s King’s Chamber we found that ithad exactly 100-blocks to its construction and we found that themeasurements of its chamber eerily coincided with this analysis of theUniversal Mathematical Matrix having an average of 50.5 per cell.

In the final word on the above analysis I can unequivocally state that the#100 was a foregone conclusion to the overall design of the matrix becauseeach of the numbers points to a 50.5 average. It can be said that since thematrix is a 10 x 10 design that it mandates this average. Always rememberthat numbers are abstractions and do not exist in the world. Man exists in avery mystical world.

THE STAR OF DAVID

Upon further analysis of the Universal Mathematical Matrix it can beseen that its diagram of the Star of David is the same as that used in the firstchapter of Genesis. Notice that I have used alternate #4s or #5s to createthe Star of David in this matrix. I shaded the unused #4s & #5s gray todemonstrate the perfect circle they are grouped into. They represent the12-months of the calendar. The opposite’s star points are 180˚ apart as seen in Genesis. When the Genesis Star of David is studied in relationship tothis one, in the Universal Mathematical Matrix, it will be found that Genesisis perfectly patterned after it. What assure us that this is a correct analysisare the positions of the unused #4s & #5s in the matrix. When Genesis isstudied it will be found that the count of positions between the star’s pointsis sequenced in-groups of 4s and 5s precisely as this pattern in the matrix issequenced. There is no way that the 32-Elohyms found in the first chapterof Genesis could have been so positioned in the manner in which they wereunless this matrix was consciously known to the author of that text. In thediagram, ‘The Star of David’, we see the separation of the star points(separate six: Bereshith) by #4s & #5s. This also is pointing to the amount ofspaces around the circle being a total of ‘32’. Yet, it is extremely interestingthat the scribes of Genesis would interpret these extra #4 & #5 in the matrix as 4 & 5 positions in thecircle of 32-Elohyms.

In the sphere of ‘The Kabbalistic Tree of Life’, found in the first chapter of Genesis, the 32-Elohymsare ultimately positioned within the separate categories of Sefirahs, Single Letters, Double Letters, and


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Mother Letters. Here in the Universal Mathematical Matrix the Quadruplicities: Cardinal, Fixed, &Mutable are used to distinguish these separate concepts and ideas in its pattern of the Kabbalistic Treeof Life. Each of the quadruplicities takes on one of the Hebrew Letters categories. It is this kind ofrealization when conducting comparative analysis between two systems that is a marvelous thing toenvisage.

When the Universal Mathematical Matrix is explored in relationship to the pairing of the #1 & #8,and the pairing of the #2 & #7 a curious idea comes to mind. Having researched the first chapter ofGenesis for many years discovering the Kabbalistic Tree of Life within its text has afforded me a greatdeal of insight that allows me to interpreted nuances in the Universal Mathematical Matrix seeminglywithout prior reference. The first chapter of Genesis talks to us about creation. It is not strange thenthat this Universal Mathematical Matrix seems to be saying from the aspect of the pairing of the #1 &#8 that it represents the Big Bang: or the beginning? Notice how the numbered cells: #1s & #8s seemsto be going out from the center in an ever-expanding manner to the edge of the known universe or thegalaxy’s edge. This is in reference to the #9s, which created all the pairs of opposites: 1 & 8, 2 & 7, 3 &6, and 4 & 5: Each totaling to #9. So the idea is that the ends of the known universe of concepts andideas are explored. The #1 & #8 are positioned in such a way as to form a mini-Kabbalistic Tree of Lifeand these particular cells are delineated, in the first chapter of Genesis, to represent “Elohym saw thatit was good” (actually used 6-times in the creation account). It is as if the matrix is saying thateverything is the way that it should be. Furthermore, the #1s & #8s actually show 2-Kabbalistic Treesof Life from opposite directions of each other as if the other one is called the ‘Tree of the Knowledge ofGood and Evil’xxxiv.

In looking at the #2 & #7 pattern in the Universal Mathematical Matrix there is an opposite nuance(reaction), from that given by the #1s & #8s, exuding from its overall design. Here it would seem thatinstead of an explosion going outward there is an implosion as if there is a desire to return to thesource from which it came. This interpretation of the matrix in relationship to the #2 & #7 is of coursepartly base on what is already known about the first chapter of Genesis: the Hebrew Alphabet going inand out of creation as was illustrated in the first word of Genesis: Bereshith.

For example the opposite mini-Kabbalistic Tree of Life would have the #5s & #8s as their 6-positions,instead of the #1s & #4s, for the “Elohym saw that it was good”. We know from the interpretation ofthe second verse of Genesis, via the Cycles of Divine Creation, that the #5 & #8 are the “Waters abovethe heavens and the waters beneath the heavens”. This means that the previous Kabbalistic Tree ofLife using the #1s & #4s was the true TREE OF LIFE.

The first letter of Genesis is Beth, and this appears to be what is going on with the #2 & #7 patterns.It was seen, in the analysis of the Genesis Formula, that Beth got stuck in the portal going out ofcreation. Its container was too full of the material world for it to escape into the empyrean. It is as ifthe #2s & #7s were attempting to take out of the world what they had ‘MADE’ for themselves whileliving in it. This last is interpreted by the fact that the #2s & #7s are in a straight line (this brings upvisions of Pythagorean mathematics) and are group together in twos and sevens liken to the storyabout Noah’s Ark. This demonstration of the plugging up the portals of creation shows what actuallytakes place when man creates his dogma and doctrine, which governs the masses. Such credosprevent the initiate from entering into communion with God. When it is realized that the KabbalisticTree of Life represents an eternal ongoing creation process the interpretation of what the Tree of theKnowledge of Good and Evil is becomes possible.


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To extrapolate the text of Genesis on to the patterns in the Universal Mathematical Matrix, and viceversa, becomes easier when it is seen that the diagrams in each of the isolated source materials are thesame. If the diagrams from the separate sources are identical thensomehow the text must relate to what the matrix is saying and viceversa. It does not take genius to analyze the text and matrixaccordingly.

As the matrix is further analyzed more and more of its secretscome to the forefront. The step pyramids and even the pyramids onthe Giza Plateau may well owe their construct to this matrix. ThePyramid’s Shape coming from the matrix (see diagram) is probably itmost obvious feature: its increments by steps.

However, what became even more interesting is the fact that Iwalked out of my front door one day only to realize that I was living inthe very heart of the matrixxxxv. It would seem that humanityunconsciously builds the matrix in his cities without knowing what heis doing. It would be similar to a spider building a web or a beeconstructing a hive using their base instincts to guide them. At thesame time I realized that all STOP signs are octagons shapes as is theKamea of Saturn. A Swastika can only come from the Kamea ofSaturn: a three by three square. Now look at an intersection with fourSTOP LIGHTS. Lay each of these STOP LIGHTS (conceiving it mentally)on the ground and a huge SWASTIKA will appear. A swastika onlysymbolizes a twirling universe as if it’s taking place in our very midst.

When we look at the Universal Mathematical Matrix we can realizethat the #4s & #5s act as the roadway for modern traffic ortransportation waterways in more ancient times. The #3 & #6 act as sidewalks where people are ableto travel on foot. The third letter of the Hebrew Alphabet is Ghimmel: Camel, which is used fortransport. The #3s & #6 also represent the Messenger of the Gods: Mercury, and even though humansare messengers on foot, in modern times telephone poles carry the message of family, friends, andmedia from house to house. The #2s & #7s represent the homes in the community: Beth. The Hebrewletter Beth represents house. Notice how the two columns of #2 & #7 have the numbers of the houseson opposite sides of the street as we see numbered on the homes in every community in ourresidential areas. The #1 & #8 represent life and of course the #9 represents death: this is a closed andcomplete system. It is as if each city block was to be considered a galaxy all by itself: an enclosedsystem.

Another interesting point concerning these four sets of opposites: 1 & 8, 2 & 7, 3 & 6 and 4 & 5 inthe Universal Mathematical Matrix is that their patterns exude the dot, line, angle and circle ofPythagorean mathematics. We saw this same nuance brought out in the movement of the back row ofchess pieces. In my researches I came across Thomas Taylor’s work: Theoretic Arithmetic ofPythagoreansxxxvi, which shows a diagram of the multiplication tables in a 10 x 10 matrix: up to thetenth multiplication table and only incrementing to the tenth multiple. ‘This ancient diagram isauthored by Pythagoras and is called Pythagorean.’ The point that I am getting at here is that themathematics of Pythagoras began with this Universal Mathematical Matrix. It is not exactly the sameas Pythagoras’ but being a secretive society they would have altered the essentials in case discovered


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but those in the know would have known how to analyze it. Furthermore, from Thomas Taylor’sdepiction of the diagram it would not have been difficult for Pythagoras to extrapolate from thatdiagram when he created it.

THE KAMEA OF SATURN IN GENESIS

It was advantageous that the first two verses of Genesis were paired as a unit in the Cycle ofDarkness and the first and second days of creation have been paired in the Cycle of Light besides theirtotaling to 69-Hebrew words. The third and fourth days of creation are paired because each of themhas 69-Hebrew words. We saw this study in numerical structure in the first Chapter of Genesis above.The fifth and sixth days of creation do not seem to be pairing off at all. There is really no argumentthat I can conceive of that would pair these two days of creation (except what we saw in the analysis ofthe Universal Mathematical Matrix). Not even the fact that they are the last two days of creation, notpaired, a good enough argument to persuade anyone to believe that they are coupled in some way ormanner. The sixth and seventh days of creation are paired by virtue of their being the only two days ofcreation that deal with Adam: as male and female (first chapter of Genesis: the sixth day) and as Adamas man and woman (second chapter of Genesis: the seventh Day). This leaves the fifth day of creationcentered on these four pairs and it is a number that is without a mate of its own, at least in this uniquepattern.

There is only one mathematical symbol that deals with such a configuration and that is the Kameaof Saturn. This is a 3 x 3 magic square, introduced above, that uses the first nine digits and arrangesthem in such a way that each of the rows, columns, and diagonals totalto fifteen (15). This magic square happens to be the El Dorado (the landof gold) of all religions on earth. We have talked about this Kamea ofSaturn extensively because of its unique importance to the sacredscriptures. It should be noted that the aggregate of the first nine digitsis #45. The name Adam [םדא] has the numerical value of #45. As it waspointed out above there are 31-words in day one of creation and 38-words in the second day of creation, which totals to 69-words. The 31-words in day one of creation equates to just about 0.44928% (or 45%).

The manner in which the first chapter of Genesis deals with the fourpairs of number is quite unique. The ninth-letter of the HebrewAlphabet is called TETH [ט] and it has the symbolic value of meaning ‘serpent’.xxxvii

Just because another author collaborates a conceptual idea does not mean it is so. What makesthese mathematical patterns in the text important is because we have seen the Kabbalistic Tree of Lifeplayed out in the first chapter of Genesis and this confirms the hypothesis not some alleged sourceoutside of the sacred scriptures.

It should be noted that though there are only nine digits here the Zodiac is implied in the Kamea ofSaturn and we will see this as we continue. It is interesting though that the beginning of thenumbering process is #6 and goes around to #5. Astrology has a mandate that says that the Zodiaccannot move until Virgo moves first. Here #6 takes the initiative and moves out first obeying thatancient mandate: six represent DESIRE and the reason from the astrological mandate.

All the initiate has to do is to follow the text of the first chapter of Genesis and the Kamea of Saturnto circumnavigate the pattern. The reader must ask, in his meditations, what the serpent symbolically


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represents if it is indeed that entity which talked to Eve in the Garden of Eden. Here there is amathematical pattern in the first chapter of Genesis and it surrounds, as we have seen in the chapterthree, the Kabbalistic Tree of Life as if it was an Ouroborosxxxviii: serpent eating its tail. So when Evetalks to the serpent she is not physically talking to an animal as we understand what that organic beingis. This is why Yahweh could not see Adam & Eve, only hear them, because they were in the firstchapter of Genesis talking to the serpent wrapped around the Tree of the Knowledge of Good and evil.She is meditating on mathematics, which is here denoted as a serpent. The curse that Yahweh Elohymplaces on the serpent is none other than the curse that the majority of mankind is prone to:innumeracy.xxxix This is not beyond the realm of credulity to advance the hypothesis that this is one ofthe interpretations that can be derived from the Genesis text concerning the story of the serpent.

Most people detest the very idea of mathematics possibly because they have a very poorconception of what mathematics is all about and they refuse to confront the subject at all outside oftheir everyday dealings with it unconsciously in the marketplace. Very few people embracemathematics at all.

Here below is an array of nine diagrams depicting the problem of these four pairings in the array ofnine numerical numbers, which these patterns in Genesis nuance. We now know this Kamea of Saturnis the serpent.1. The Genesis’ Kamea – 1, depicts the four pairings as they are arrayed in the first Chapter of

Genesis. Since the #5 is the central number it belongs in the center. It is here noteworthy to pointout that the central 4-numbers flanking and surroundingthe #5, which creates a cross: 1-3-6-8 again reveals aunique patter. We have already seen in a previouschapter how they were crucial in outlining the Star ofDavid in the Zodiac/Calendar Year.

2. The Genesis’ Kamea – 2, is emphasizing that no matterwhether its array of numbers begin in the centraloutlining squares or in the corner squares these fournumbers 1-3-6-8 keep their association with each other.

3. Genesis Neutral Swastika is taking the #5 and having ittotaled individually with each of the other eightnumbers. This creates a starburst in the center of theKamea, totaling to 6, 7, 8, 9, 11, 12, 13, and 14. Yet, if aline was drawn from #5 to each of the four pairings ineither the Genesis Kamea – 1 or 2 the Male or FemaleSwastika would appear. In a sense Genesis has all threeswastikas associated with it. The swastika happens tobe the oldest symbol in the world.

4. The Kamea of Saturn - 1 (Loshu in China) totals to #15from all eight directions: horizontally, vertically, and diagonally. It is in fact a perfectly structuredmathematical matrix. Actually it is a very complex mathematical matrix and this present workdeals with it ad nausea.

5. The Kamea of Saturn – 2 depicts a unique mathematical pattern, which the numbers 1-9 displayedin the Genesis’ Kamea – 1 & 2. Now flanking the #5 in the four corners or the four squares thatproduce the cross sections of the Kamea, the Kamea of Saturn – 2 shows a Ying Yank pattern,


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where it is dark on one side and light on the other. Of course this is my interpretation of what thenumber are saying and therefore it is subjective on my part to color code them. But whether theyare opposites or not they are two sets of familiar numbers out of the first Chapter of Genesis. IfGenesis were not inferring the Kamea of Saturn such synchronicity would not be so apparentbetween the two sets of diagrams.

6. The Sigil of Saturn is envisaged when the pattern of the Kamea’s Neutral Swastika is followedindustriously. Here following the nine integers sequentially within the Kamea of Saturn producesthe Sigil of Saturn. This is the pattern that wasconfigured in discovering the four elements: Fire, Earth,Air, and Water in the Universal Mathematical Matrix.Most important though is that it is the pattern thatillustrates the movement of the 9 separate integers. Aseach integer takes its position in the central cell of theKamea of Saturn it is the Sigil of Saturn that guides thenext position it will be located, thereby placing all 9integers simultaneously.

7. The positioning of the arms of the swastika, numberedto the right of the central cross of the Kamea of Saturn,develops this Kamea’s Male Swastika. The Kamea ofSaturn’s central cross is the same for both the Male andthe Female swastikas: this produces the totals 5 + 1 = 6,5 + 3 = 8, 5 + 7 = 12, 5 + 9 = 14. Unlike the central crossthere are two methods of obtaining the odd numbersthat are inserted between those even numbers. TheMale Swastika counts to the right: 3 + 4 = 7, 1 + 8 = 9, 9+ 2 = 11, 7 + 6 = 13. What further separates the Male Swastika from its counterpart is the placingof its numerical data into a cycle of nine parts. The result of this was to obtain an image ofChristianity’s Fish Symbol (see accompanied diagram).

8. Positioning the arms of the swastika to the left of the cross: 1 + 6 = 7, 7 + 2 = 9, 8 + 3 + 11, 9 + 4 =13, in the center of the kamea, develops the Kamea’s Female Swastika. When this numerical datais placed into a cycle of nine parts the image of the Egyptian’s Scarab Symbol is obtained (seeaccompanied diagram).

9. The Kamea’s Neutral Swastika here is brought out to show that it does display the same graphics asthe Genesis’ Kameas. The #5 is the key number in creating this sun burst design in the Kamea ofSaturn. The #5 extends an arm out to each of its eight flanking numbers from a numericalperspective: 5 + 1, 5 + 2, 5 + 3, etc. etc. Another interesting aspect to this Neutral Swastika isplacing these numerical patterns into a circle of nine points. This produces a design that cannot beanything other than what they display in unity: The Chinese (Oriental) Architectural and Clothingdesign. I have completed the inference of row, column and diagonal by connecting themindividually into triangle like forms (see accompanied diagram).

This kind of verification as to these symbols being foreordained before the foundation of the world,which exude from the nine basic digits should have an exciting effect upon the initiate’s consciousnessconcerning these numerical patterns. Here we have demonstrable evidence that there is somethingspiritually guiding us and putting these symbols into our lives. Think about that for a minute. For


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thousands of years these symbols played an important part in the lives of billions of people and overthose millenniums no onexl has ever, that I know of, expounded where these symbols came from.Some theories have come forth concerning the FISH coming out of the sign of Pisces but this symbolout of the Kamea of Saturn would indicate other nuances are involved, which makes symbolism morecomplex than a single interpretation.

These are no ways that I can think of that distracters can maintain that these symbols have beenmanipulated into the numerical data. This is why I produce as many diagrams as possible. I want thosethat follow this method of thought to be able to follow the science not my thought. If I err on any issuewhatsoever put my hand to the fire, so-to-speak, because I do not deserve any leeway on the path oferror. Mistakes I most likely have made and the readers will discover them, but consciously I do notmake them. I believe in open dialogue not rhetoric that has verbiage the layperson cannotunderstand. Why insert French, Italian, or German quips into a text without any explanations of theirmeanings? An author using such devices in their text employs the art of stupidity: self-aggrandizement.

THE ‘SQUARE, COMPASS & G’IN MASON SYMBOLISM

There is a tradition in both the Western and Eastern religious philosophies that there are nine basickamea associated to the Kamea of Saturn (Lo Shu in China). When these nine basic kameas are studiedit is found that each of them use the Sigil of Saturn toformat its structure (see diagram). As each of thesekameas is studied it becomes obvious that one rowand one column stand out from the other rows andcolumns. As I earmarked each of these anomalies ineach of the kameas a pattern was developing thatwhen completed was recognized as the age-oldemblem of Masonic Symbolism. The accompaniedchart ‘The Nine Basic Kameas’ the kameas are groupedinto three categories, which are determined by each oftheir internal mathematics. How each kamea totalshorizontally, vertically, and diagonally determines itclassification into groups of #3s, #6s, or #9s.

Each of the kameas is named individual according tothe central cell in its matrix. Coincidentally or not thecategory #3 represents the Cardinal Quadruplicities: 1-4-7, the category #6 represents the FixedQuadruplicities: 2-5-8 and category #9 represents the Mutable Quadruplicities: 3-6-9.

As each kamea is calculated two of the three rows’ totals will be the same as two of its columns.For category #3 the anomalous row and column will total to #21 and the normal rows and columns willtotal to #12. Category #6 is without merit in this particular analysis because there are no anomaliesnoted. In category #9 we find that the anomalous row and column totals to #9, whereas, the normalrows and columns total to #18. Each of the categories #3 & #9 create its own pattern of the ‘Square,Compass, & G’ primordial pattern as if creating opposite patterns.


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THE ORIGIN OF THE I CHING

The I Ching is not a difficult concept to grasp in relationship to this numerical data seeing weobtained glimspes of it in the first chapter of Genesis. As the Lo Shu (Kamea of Saturn) is continueouslystudied more and more patterns are seen within its confines. Itwould not seem possible that locked within this small unassumingmatrix’s precincts there would be inherently so much data. Thereader will of course want to argue that it is not just one matrix butnumerous matrixes. I beg to differ seeing that they all come from thesame source. The nine kameas that have been developed have comefrom the same kamea. If the kamea has inherent a sigil then that sigilin its movements should be followed to the end of its logicalsequence. The ancient sacred scriptures are not going to do all thework for the initiate.

The key to understanding the I Ching’s relationship to the Lo Shu(Kamea of Saturn) is found in ‘The Universal Astrological Matrix’. We have visited this matrixsomewhat previously because it is none other than the pattern of the Star of David in theZodiac/Calendar year. This Universal Astrological Matrix was visited in Dante Alighieri’s La DivinaCommedia chapter.

This matrix is important to grasp because it is the key to grasping how the ‘I Ching’ wasdeveloped. The 4-element: Water, Fire, Earth, & Air are placed above the appropriate column. In thiscase the Air Triplicity is used in the Lo Shu in suchway that the #3 displaces the #12. It will be seen infirst chapter of Genesis these two numbers are in thethird day of creation.

Whereas, the #7 displaces the #10 and it will beseen in Genesis Chapter One that Elohym called theDarkness (10) and Night (#7) in the Cycle of Light: DayOne of Creation. In the sine waves in the Cycle ofLight it has been demonstrated that these numbersare positive signs for each other.

When the #3 & #7 (Air Signs) are inserted into theUniversal Astrological Matrix displacing the #12 &#10 the Kamea of Saturn reveals itself. The Kamea ofSaturn is just a smaller version of the larger UniversalAstrological Matrix. There is no real displacementgoing on but it seems to be the only terminology thatcan be used to discuss what apparently is going onwith these different versions of the same matrix. It isas if the Kamea of Saturn is a condence form of thelarger version. It is with the condenced form that we are working with.

Above we discussed the nine basis kameas and two of the categories #3 & #9 were used to createthe pattern of the ‘Square, Compass, & G’. The category #6 was not discussed because no anomalies


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were seen at the time. Now I will use these three kameas in category #6 to illustrate the creation ofthe I Ching.

Using the knowledge that the #3 & #7 displace the #12 & #10 respectively in the UniversalAstrological Matrix I will earmark all rows and columns, in these three kameas, with the #3 & #7 inthem with broken lines as is seen in the Trigram system. All rows and columns without the #3 & #7 willbe given solid lines.

The idea of this chapter was to convey the concept that from just a small bit of information cancome a world of discoveries. From the Pythagorean Tetractys came the idea for the Origin ofNumbers, which led to discovering the Universal Mathematical Matrix. No one can truly say what willinspire an idea. The most insignificant fact can become the chief cornerstone in a train of thought thatleads to the unraveling of a mystery. Every time we unravel one of these enigmas it becomes the stepforward in the search for enlightenment. Sometimes breakthroughs come at an exceedingly fast pacewhere it appears it will never ends: as if the maelstrom of information will overpower the psyche and itis feared much would be lost if not acted upon with due diligence. This rarely happens and yet at othertimes: most times new insights comes at a snails pace where one is prone to believe that God hasdeserted him.

For me the Pythagorean Tetractys demonstrated that all of creation funnels through the #1. It isinteresting that from this lonely number comes its own commentary. The world of academia is tossedaside as if it is a used and discarded rag and this is not my doing but rather it is the ancient teachingsdoing it. It is as if the ancient teachings have only one thing to say to scholarship, “get thee behind mesatan”. I fully understand that academics themselves are basically good people and that believe theyare doing humanity a service, however, my comdemnation of academia is the same as that which thelaw has for those that are ingnorant of its rules and regulations: “ignorance of the law is no excuse”.

The laws of the universe are without mercy. Should I therefore show mercy when the very aeonsthemselves lack that ability? The passion and the compassion of Christ was played out once and for alltimes. Would we crucify Christ again to redeem ourselves when we did not take advantage of hissacrifice the first time? Christ never left and therefore there is still time to take advantage of thatsacrifice.

I want the reader to notice that inherent in mathematics is a mystical and linguistic message. Whenmathematical patterns reveal themselves it is incumbent on the discoverer to put a story to themathematical graphics based upon the internal structure of the mathematics. If the interpretation iscorrect it should be seen somewhere in the world in exactly the same format in which it is found. Takefor example the Genesis Formula, the text of the first Chapter of Genesis and the works of DanteAlighieri, Astrology, Chess, the Pythagorean Tetractys, Mythology, Catholicism, and many otherconcepts and ideas: if I did not have all of these systems augmenting each other I do not believe Iwould have achieved the amount of success, in unraveling the science, in my research that I ampresently enjoying.

It matters not what other people think about this research for I know in my very being that it is avalid science. It is not for anybody else’s benefit that I publish this workxli but rather it is for myself ifothers benefit from it so be itxlii.

Many of the diagrams in this chapter and in other chapters can be found in many different literarywork but none of those other words explain their mystical meanings nor relate them to the firstchapter of Genesis. For example the Kamea of Saturn (Lo Shu in China). It is known all over the worldin many ancient cultures since the dawn of time itself. Nobody has yet been able to explain its purpose


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in any of the literature that since been written on these symbols and diagrams concerning the 3 x 3kamea and its swastikas. It is found in numerous octagon shapes in churches and religious buildingsaround the world and in countless mythological images but no explanation of their purposes or value isforthcoming from anywhere from the religious or academic communities. The only venue that offersup a suggestion is Talismanic Magic, which outlines the magic squares associated to the Sun Signs ofAstrology. Yet, there is no explanations forthcoming concerning its primordial origins.

I began this chapter with the idea of demonstrating that all of creation exuded from the #1. ThePythagorean Tetractys is what I used to hazard this theme. But of course there is no way that theTetractys, in and of itself by itself, was going to inaugurate such creative activity such as the reader haswitness in this chapter. If such a thing were possible, from that little diagrammatical image, we wouldhave had this chapter centuries ago. The Neoplatonist Iamblichusxliii is credited with having written alittle book, which happens to be a favorite of mine and has influenced my thought greatly. HereIamblichus goes into the definitions of the first ten numbers but in doing so he associates the first fournumbers to the Mathematical Sciences; the Quadrivium: Arithmetic, Music/Harmony, Geometry, andAstronomy/Astrology. This commentary on the first ten numbers was the foundation to the creationof the Pythagorean Tetractys.

These very concepts would open my mind to the grand possibilities of how the inventors of thedisparate mythologies in the world incorporated the Seven Liberal Arts into their texts. I wasexceptionally pleased to see how Martianus Capella would personify the Seven Liberal Arts asindividual people explaining the nature of the universe. He would even have Arithmetic declaring thatthe word “Genesis” is defined as the #2.xliv Though Genesis is a Greek word when the Greekstranslated the original Hebrew Torah into the Septuagint they would name the first book Genesis. Thiswould indicate they understood the nature of the first volume of the Torah as being the secondvolume of creation. The first is its mystical interpretation, which comes from the Prima Materia and itis called the Esoteric Science.

The idea that numbers can be manipulated in not a new one. Numbers have their own peculiarnuances that can be neither created nor destroyed by man. Integers are divine because their naturesare eternal and unchangeable. This is why these integers can be meditated upon with an assurancethat nuances envisaged within them are just as eternal. There is one thing that is for a certaintyconcerning integers and that is there could just as well have been more or less than nine of them withthe probability of creating whole new spheres of consciousness, which our present psychic awarenesswould be unable to comprehend. In either case the universe, in which humanity presently exist,without the nine integers would not be a conscious reality.

MAGIC SQUARES

There is nothing more magical about Magic Squares then simple mathematics. The illustrations ofthe two UN-named kameas and the seven Planetary Kameas explain a great deal about the origin ofnumbers. Normally the first two kameas: not named (1 x 1, & 2 x 2 squares) are not even consideredwhatsoever by those interested in these matters except the Babylonian Tablet in chapter four.


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Each of these kameas is important because they individually and collectively tell us a great dealabout numbers. The #1 is not really a magic square because it is alone. Yet, in a sense it complies withthe criteria of a magic square because it totals tothe same sum horizontally, vertically, & diagonally.Whereas, the 2 x 2 square does not meet therequirements of a magic square because it isincapable of meeting these standards and it is theonly conceivable magic square that will not satisfythe mandate the aeons imposes upon it. These arenot human standards at all because they werecreated, in the aeons, before the foundation of theworld. This is probably why the #2 maintainsdictatorial control over the world of symbolism. Forexample a 3 x 3 square can only satisfy therequirements of a magic square once and in onlyone way. In fact a true magic square can only beput together in one logical and orderlymathematical sequence. But there are thoseindividuals that want to play around and show theirgenius and so they give us variations of the rest ofthe magic squares numerical placements.Regretfully these magic squares allow for thatphenomenon to exist within their precincts. Thosethat add or take away from that which wasforeordained before the foundations of the worlddoes their souls great harm. This is because theyare missing the greater pictures by trying to impressus with matters that have no value: ego knows it isof no consequence. I can honestly say I don’t knowif variations of Magic Squares have any value or not:I hypothesize they have no value, however that ismy opinion. My reasoning in this area is, if theaeons forcibly mandate the numerical placement ofall the numbers in each of the nine kameas, whywould there be other methods of doing so esoterically, especially when there is no foreseeable value inthem? There would be no structured order other than the genius of the nincompoop that put thevariation together. Consider that others not so intellectually endowed must envisage it with the use oflogic: a reasonable set of hypothetical ideas programmed into a Magic Square, by the Aeons, can befollowed to a conclusion.

When we look at the odd numbered kameas 3 x 3, 5 x 5, 7 x 7, 9 x 9 we find that they are allnumbered with the same pattern in mind. All one has to do is to follow the method of placing thenumbers of any odd numbered kamea, up to and beyond #9, and it can be constructed within minutesof attempting it. Every odd number kamea has a central number. It is place in the center of the oddnumbered magic square. Take the Kamea of the Moon. The #41 is placed in the central cell of the


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kamea. The largest number (81) in the odd numbered kamea is placed directly above the centralnumber and the #1 of the kamea is placed just below the central number. The numbered patternworks its way down diagonally to the right beginning with the #1. When the bottom row is met the topof the next column is filled and the numbering works its way down diagonally until it reaches thebottom or the right column. When it reaches the right column the numbering begins on the far leftone row below. This numbering process continues until the magic square is completely filled. If a largeodd numbered kamea is being worked on and the right column is met at the bottom there is anotherrule to follow. This will happen in every odd numbered kamea (because you will be numbering rightdown the central diagonal of the kamea), you will then go to the top of that right column and skip anumber and place the next number in that empty cell. You then go to the far left and to the row belowit and continue on numbering the kamea. If you are in another column and you have filled up adiagonal line without reaching the bottom row you will then skip a row in the column you are in andplace the next number in that empty cell: then continue diagonally, following all the rules justmentioned, to completion.

Whereas, the even numbered kameas also have their own unique pattern, which separates themfrom the odd number kameas. Take for example the 8 x 8 kamea named after Mercury. The first & 8th

rows take the first eight numbers out of a total of 64 (1-8) and also take the last eight numbers ofthose 64 (57-64) and intertwines them in such a way that they mirror each other. The #1 & #64 areplaced at opposite corners, as are #8 & #57. Both these sets of numbers total to #65 and these, first &last numbers in each kamea, are the prime pattern to all even number kameas. These four numbersnot only have to be placed in the first and eight rows they have to be placed in the first or 8th columns.This dual mandate for the even number kameas locks each number, within the kamea, into a particularspot within the magic square. Then the next set of numbers #2 & #63 are also placed strategicallywithin the first and eight rows as are #7 & #58, but these four numbers are mandated to be placed inthe second & seventh columns. The following four numbers: #3 & #62 and #6 & #59 are also placed inthe first and eight rows but this time they are mandated to be placed in the third & sixth columns.Finally the first and eight rows are completed when the last four numbers in this series are placed inthe fourth and fifth columns.

Each progressive set of 16 numbers are placed in the successive sets of rows following the mandatelaid down for each of the sets of columns as make clear and simplified above. It would depend on thelength and width of each even numbered kamea that mandates the amount of numbers placed in therows and columns. Whatever the dimensions of the even numbered kamea are in each case theinitiate will always be dealing with only four numbers at a time in placing them in their rows andcolumns.

In all of the magic squares, as has been clearly demonstrated above, there is a particular method, inwhich the numbers are orientated to their niche, which is mandated by the aeons long before theworld ever began. This is not a frivolous idea. It is a very serious concept that cannot be played withor tampered with.

This Kamea of Mercury (8 x 8 kamea), which I spoke of above, follows the numerical pattern of the‘Origin of Numbers’: 1 & 8, 2 & 7, 3 & 6, and 4 & 5. This should not go unnoticed by those that will gofurther into studying these matters. It is in the details a nuance like this is discovered.

In all of the magic square there is a set manner in which the numbers are orientated to their niches,again, as mandated by the aeons long before the world ever came into being. When the Kamea ofMercury is studied it is found that it gives off a very unique pattern, which appears to be an image of


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an eagle soaring to the heights. This image is offered as an intriguing possibility because we havealready seen that the Kamea of Saturn has images associated with it.

In fact one of the noted images already discussed above is the ‘Square, Compass, G’. This uniquepattern is also said to be the origin of the Presidential Seal of the UnitedStates which has an Eagle holding thirteen arrows and thirteen olivebranches: implying war or peace.

This particular image surfaced in the Kamea of Mercury when eachof the nine kameas was examined for patterns relating to the numericalsequence found in the Kamea of Saturn. Kameas 1-7 appears to havecrystallized their numbers patterns according to the Quadruplicities:Cardinal, Fixed & Mutable Signs. When examining the 8 x 8 Kamea ofMercury and the 9 x 9 Kamea of the Moon their patterns did not bringforth a satisfactory pattern using the Quadruplicities as guide for thepattern. Using the Quadruplicities is basically using the Kamea ofSaturn pattern from a diagonal (1-4-7, 2-5-8, 3-6-9) perspective. Now Iwould examine both the Kamea of Mercury and the Kamea of the Moon according to the vertical (4-3-8, 9-5-1, 2-7-6 = Water) and the horizontal (2-9-4, 3-5-7, 6-1-8 = Earth) patterns found in the Kamea ofSaturn.

Each of the nine planetary kameas have been color coded according to the Cardinal, Fixed, Mutablesigns. When I realized that the Kamea of Mercury was patterned after the Water Triplicities from theKamea of Saturn it impressed upon me the central numbers in this pattern (7-5-3) were emitting apattern similar to what would appear to be a bird dive-bombing to the ground. The entire numericalcolor code pattern appears chaotic throughout the Kamea of Mercury until it is seen that both of theother sets of numbers (4-9-2 and 8-1-6) combined to work harmoniously to create an even larger birdfigure soaring into the unknown. We have seen the Cardinal & Mutable Quadruplicities workingharmoniously in the Cycle of Light so it is not amiss to point it out here in the Kamea of Mercury.

All of the planetary kameas were analyzed for each of the four triplicities as outlined in the Kameaof Saturn, which we touch on above when I introduced this concept. The Kamea of Saturn can beworked either by the quadruplicities, which is actually the Air Triplicities, or it can be pattern toillustrate the Earth or Air Triplicities. None of the other kameas have this versatility within theirprecincts.

Now I fully grasp that this all appears to be a subjective analysis and one could easily ask thequestion, is the author imagining the bird image there in the Kamea of Mercury or is the symbol of thebird really there? The only way that that question can be answered is to point out that Dante Alighieriintroduces the discussion on the Eagle beginning in the sixth chapter of his La Paradiso. This is exactlywhen Dante rises to the sphere of Mercury. It cannot be said that this is coincidence because in achapter on Dante’s mathematics it will be demonstrated that he knew of the Magic Squares and usedthem beautifully in his work. One does not accidentally insert a discussion on the Eagle at the verypoint where he should do it if he was not influenced by the Kamea of Mercury to do so. There will alsobe a discussion on the Kamea of the Moon that illustrates Dante’s use of it to perfection. Notice abovehow the Kamea of the Moon is analyzed to demonstrate that it used the vertical numerical patternfrom the Kamea of Saturn. This is the Water Triplicity and such a pattern is not just accidentallyexuded into creation unless there is a reason for it. We know that the Moon dominates the waters ofthe Earth as it circumambulates the planet. This analysis of the Kamea of the Moon without a doubt is


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a direct reference to that being ordained before the foundations of the Earth were laid. The Moon hasthe mass of 1/81 of the mass of Earth.xlv The Kamea of the Moon being a 9 x 9 magic square (81 cells)should not escape the reader attention. With everything else that has been presented in this chapterare we to believe that this is also one of though unexplained coincidence? We do not have to suspenddisbelieve to grasp some of these more subtle nuances in nature.

We will discuss the waters of creation when we astrologically orientated the first two verses ofGenesis to the Cycle of Darkness. The waters of creation are in the second verse, which is the ninthpart of the cycle. Here we have the 9 x 9 Kamea of the Moon and we are dealing with the ‘Waters ofCreation’, again. Can anyone say this is coincidence? I am not asking anyone to suspend their disbeliefto understand these things. If this is random numerical sequencing then how do all of these seeminglydisparate parts, from the several different systems that I have been working with, meld into oneanother like a seamless garment? Eventually the evidence builds to a crescendo where the reader canno longer deny what is placed before him. There are countless nuances that I will not comment onbecause the answers are so obvious that the initiate can findthe answers himself without my cutting any of the fibers orstrains of his cocoon.

There was of course a reason that put me on the course toanalyze each of the planetary kameas in minute detail. Thatnuance lies in all nine kameas collectively. Each individualkamea, in and of itself, does not display this nuance that we areabout to discuss. Notice how the 3 x 3 kamea have a total of 9-cells, and the 4 x 4 kamea have 16-cells. The #16 is reduced toits lowest common denomination: #7, as is the #25 from the 5 x5 kamea. This makes #36 from the 6 x 6 kamea a #9, and the 7 x7 kamea a #4 from #49. This leaves the #64 to be reduced to #1from the 8 x 8 kamea and the #81 is reduced to #9 from the 9 x9 kamea. Because of this pattern from the seven planetarykamea it was logically mandate to include in my analysis the so-called #1 kamea and the 2 x 2 kamea. The #1 kamea produces #1 and the 2 x 2 kamea produces a #4.Putting all of these kameas in sequences it yields an overall pattern of: The Universal MathematicalMatrix mandates the Magic Squares.

1 – 4 – 9 – 7 – 7 – 9 – 4 – 1 – 9

The only place that I know of that has this pattern associated to it is the Universal MathematicalMatrix: I have outlined its formation above. So I have demonstrated that the first two kameas arevalid. Notice that this is the central column of the Kabbalistic Tree of Life, which is seen goingdiagonally down the matrix of the Kamea of the Moon, which sits neatly in the Universal MathematicalMatrix. This becomes very clear when we deal with Dante Alighieri’s mathematics.

By my placing these several numerical systems of thought together I am literally showing the sourcematerials that allowed the ancients to write the Judeao Christian Scriptures. The history of the Jewsand Christian are merely incidental to the undistorted esoteric knowledge that exists within the text oftheir mythological histories. It is not just one system of thought explaining these number patterns thatallowed for such a concept to take shape in the psyche. It was the accumulation of the various systems


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of knowledge that augment each other: gathered over time and space, which allowed for suchspirituality to be coded into a seamless esoteric garment: hence the sacred scriptures of the world.Imagine what that implies to our own understanding of the world. What does it implies about ourthought processes and to the number system that we take for granted.

THE KAMEA OF SATURN & THE MALTESE CROSS

The Aegean Sea holds one of the great secrets of Christianity. Saint John in his book of Revelationtells us of the four square city, which is called the New Jerusalem. Thisis none other than the Kamea of Saturn.

A NASA scientist; Maurice Chatelainxlvi took pictures, using satellitephotography, of the Aegean Sea. He discovered that there was 12Greek temples scattered across the length and the breadth of theentire area (300 miles in diameter). This included temples on themainland across the sea from Greece.

Maurice Chatelain interpreted this phenomenon to be arepresentation of the Maltese cross. Yet, it is believed that the Greeksknew nothing of the Maltese cross and he makes note of this. These12-temples create the pattern of the Kamea of Saturn on a map of thesurrounding area. This is the largest temple complex ever found on theface of the earth. This is almost a thousand miles in circumference.What convinces me that these temples represents the Kamea of Saturnis the fact that Saint John, the author of Revelations, was imprisonedon the isles of Patmos, which was a Roman penal colony located in theAegean Sea.xlvii There can be no doubt that Saint John was influencedby the belief systems of the people that were indigenous to the area, from which this prison wasobviously populated. Consider also that Christianity borrowed most if not all of its symbolism fromother cultured they were proselytizing in.

THE LUASANNE ROSE WINDOW

The Luasanne Rose Window is a little known work of art, in the cathedral of Luasanne Switzerland,created during the peak of the mediaeval period (ca. 1230). For me it is the most beautiful RoseWindow in the world because it has a conceptual value unequal amongst its peers across the expanseof the European continent. It is known as a “medieval imago mundi, or schema of the Creation”.xlviii Ifound that modern day academic speculation concerning its subject matter a little wanting. Suchspeculation demonstrates how totally inadequate scholarly conjectures can be without competentdata to hypothesize from.xlix

In all my research on this Lausanne Rose Window, which is scanty to say the least (because notmuch has been done on it since its creation), I found no record of any academic doing an in-depth oreven a cursory study on the construct of the design in the window in relationship to its subject matter.This to me is what is appalling about great works of art such as this Luasanne Rose Window. Theillustrations offered here,l in relationship to the subject matter in this chapter, should allow anyonethat wants to study this rose window to do so with ease. There is not much information on this Rose


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Window presently available and I found that I had to work with the raw data: diagrams shown here areinvaluable tools to aid the researcher. There can be no doubt that the Kamea of Saturn, UniversalMathematical Matrix & the Kamea of the Moon are the exemplars that thisLuasanne Rose Window are model after. The diagram of the LuasanneRose window is taken from Ellen J. Beer’s work written in German.li Notethat in the structure of this rose window design there are eight circularpatterns and five square patterns in its basic construct. This is one of thebasic motifs that are encountered in the first chapter of Genesis, which wehave discussed at length in previous chapters. This #5 & #8 scenariorepresents the waters of creation: Yahweh and Elohym.

God symbolically represents the #1 and the #2 through #5 are differencescenes out of the first chapter of Genesis. I especially would like to drawthe reader’s attention to the square of 12-figures in the rose window thatrepresents the Calendar Year: #10 through #21. In the UniversalMathematical Matrix there is a circle of 12-cells using the #4s & #5s. Nowcompare these 12-cells in this matrix in relationship to the 12-figuresrepresenting the 12-calendar months in the Luasanne Rose Window. The12-figures, #26 through #37, in the Rose Window have the same structuralpattern as the 12-signs of the Zodiac in the Kabbalistic Tree of Life, and thesame pattern as the 12-#3s & 12-#6s in the Universal Mathematical Matrix.These 12-figures are positioned in the rose window to mimic the pattern ofthe 3 x 3 square: Kamea of Saturn, in the Universal Mathematical Matrix.

When looking at the numbered diagram it is easily seen that without the8-cosmic winds, #54 through #61, and their accompanied mini circles, thereremains 53-figures and 28 other images (81: 9 x 9 in all) filling up spacewith appropriate design. The rose window is patterned after the UniversalMathematical Matrix: 10 x 10 square, it is the Kamea of the Moon thatdominates the structure of the Luasanne rose window.

The Kamea of Saturn is known all over the world by numerous culturesof antiquity.lii Once that little device was discovered by a particular culturecivilization was basically born from a spiritual point of view. Anytime the 3x 3 square or its companion the swastika is found in an archeological dig itis not guesswork that the culture under study knew of its existence and itsmathematical nuances. It is a 100% certainty they knew of it and used it intheir mythologies and traditions. The swastika cannot be obtained fromany other device other than the Kamea of Saturn. It is simply impossible todo. It does not take much ingenuity to follow the mandated movementpattern that exudes from the Kamea of Saturn to obtain the 9-basickameas, which produced I-Ching, the Ki,liii Masonic symbolism, and Godonly knows what else. Once the Kamea of Saturn is comprehended it doesnot take much more brainwork to reason out the creation of the othermagic squares and learn the secrets that they hold. If this line of thought isfollowed studiously by the initiate then it is possible for anyone, seeking the whys and wherefores ofexistence, in the present and in future ages to reinvent religion as it was created in our own antiquity.


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I say this with authority because this is how I discerned the shrouded knowledge of antiquity: TheSecret and the Mysteries of Genesis. The Kamea of Saturn is the perfect example of what Christ meantwhen he said “the father’s kingdom is spread out upon the Earth and people do not see it.”liv

JOSEPH: THE 11TH SON OF JACOB

In the same vein I want to give a number of examples as to the average person’s inability to beobservant of what is before his eyes. The average person allows his biases, prejudices andpreconceived notion of ‘the way things are suppose to be’ to make his decisions for him. The firstexample concerns Joseph and his brothers selling him into slavery. Those that read the stories aboutJoseph say that he was a great prophet and leader of his people. Actually he was a Judas, who withdeep mendacity betrayed his family. Let us take a look at his life. At the age of seventeen Joseph is,summarily, sent by his father from one brother to another in the hopes of giving this beloved eleventhson an education in some form of on the job training. All Joseph could do was return to his father withevil reports: nothing satisfied him. In other words this teenager was nothing but a ‘rat-fink’. IsJoseph’s gift of telling tales how Jacob learned of Reuben bedding down one of his concubines? Heappears to be a pervert also. Joseph was not a team player but rather a daydreamer. He wanted torise above his station in life without paying dues in the school of hard knocks. His brothers did exactlywhat they had to do: get rid of him. They put him in a hole and this was the prison of those days. Andthey sold him to a caravan that was on its way to Egypt. This is very much like the kidnapping of mento serve on merchant ships a few hundred years ago: shanghaied.

This story concerning Joseph and how his brothers pulled his coat and cast him into a hole has comedown to us as prison slang to this very day. In a modern day prison it is understood that when oneprisoner says, “I going to pull his coat”, this is slang for ‘I going to put him in his place’. Meaning thatone inmate having a dispute with another may well inform the inmate that “I will pull your coat”.

Okay, Joseph gets to Egypt and sold on the market as chattel. He proves himself and is givengreater responsibilities over his master’s household. Joseph now finds himself in a predicament withhis master’s wife. But notice that Joseph learned his lesson about being a ratfink. He does not squealon his master’s wife by telling his master the truth. He probably realized that if he did he would forfeithis life. He did not forget what happened after he squealed on Rueben. So Joseph goes back into thehole or the neighborhood prison. There he waits on the fates to free him. Lady luck was with him andhe becomes a big shot in the Pharaoh court.

The biggest problem I have with Joseph is his not giving his family what they needed in the land thatthey were living in but he kept them in Egypt rather that help support them from afar. Because of hisyouthful dream of lording it over his family he essentially enslaved them in Egypt. It was his cageynessthat caused his family to bring his father to Goshen. Now if Joseph could easily do this to his familyhow much more did he do it to others that were not his family? How do you get decent andhardworking people in your employ to do criminal activities for you if it is the only time, allegedly inyour lifetime, you have ever done such a thing? The only conclusion that can be drawn is that Josephwas adept at doing these kinds of things to decent hardworking and honest people. Joseph’s moralityattack, when it came to his refusing his master’s wife’s advances, does seem to be a bit disingenuouswhen measured against this ability of his to plant evidence and commit perjury against an innocentman. Because of his conniving ways liken to his father’s abilities I would not doubt that Joseph plannedout his own incarceration to be placed within the proximity of the Pharaoh court. Joseph was in a very


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advantageous position to hear gossip, probably from his master wife, and thus learned of the Pharaohpenchant for fortune telling.

I brought this story up about Joseph because so-called religious people tend to think of him as aprophet or saint when he was anything but holy. This is the way most people look at the world. Theyare too trusting in those that have authority. Jacob had faith in his son, Joseph, when all Josephwanted was revenge. He wanted his brothers to know what the very meaning of prison was all about.Joseph’s entire adult life, even as an overload of Egypt, until he died was that of a slave. Remember hisbrothers took his childhood and adulthood away from him and they were never punished for it.

Because it is written in the Bible people tend to think all events holy and sacred, as they should viewthe text. But everything in the sacred scriptures is not as it seems. The old warning, ‘if it looks too good

to be true, it probably is’ is a good adage to live life by.I am not saying here that the average individual should go around being suspicious all the time but

he certainly should not be a sapsucker fool either. There is hardly a day goes by that the media doesnot tell us of an individual losing his life savings to some church group, stockbroker or con artist ofsome sort. If people were satisfied with their lot in life they would not be looking for a pie in the sky:euphemistically the flying saucer. Rather they should realize the treasure they already have.

SAINT JOHN THE CONVICT

The next example I want to point out, concerning those that Christians tend to put so much trustinto and place on a pedestal, is Saint John the gospel writer. Here is the beloved disciple of Christ. Orthis is the popular belief concerning John. He certainly may have been in favor when Christ was alivebut ask yourself why God: the trinity never broke open the prison doors for John. Maybe because hedid not want them opened? The first book that John writes is his gospel and a beautiful book it is. Thenext four books would be written in prison. There are three of his letters sandwiched between Judeand Peter’s letters, and finally his Revelations of Jesus Christ. Now we know that the last book,Revelations, was written on the isle of Patmos: a Roman penal colony, because John tells us thishimself. What is not clear from the text, as previous commentators have demonstrated by notmentioning it, is that John’s three letters were also written from prison. The modern religious andacademic communities are not even certain the same person wrote these three letters or even the lastwork The Revelations of Jesus Christ. I will demonstrate that the same person wrote all five books.

MODERN DAY CONVICT LETTERS

The modern day male convict that is married and keeps in communications with his family basicallywrite three categories of letters. It is the primary archetypal patterns in the mentality of a prisonertrying to cling to the small remnants of his outside life. The first group of letters he writes is to hischildren. These are usually very long letters telling the children to be good and listen to their mother.It is an irony, which totally escapes him that he who is in prison is telling another how to stay out ofprison. There is just so much that can be said to the children without being redundant to the point ofboredom or looking like an idiot in the eyes of your children. The second group of letters is too hiswife. He wants to ensure himself that she will wait for him and he reminds her of her vows to him andhe tells her how much he loves her. There is always the promise of coming home. The third group ofletters is to a friend complaining that another individual has come and is living with his wife. This is thearchetypal pattern of the convict writing home to his family and friends.


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SAINT JOHN’S LETTER WRITING

Saint John’s first letter is to “My little children”lv, which is the congregation of the Church that heministered to before his incarceration. John follows the same patterns as the convict does. This is ofcourse the longest of the three letters. The second letter of John is to his Church: “The Elder unto the

elect lady and her children”.lvi Here John is not so much worried about the children as he is of the electlady being deceived by the antichrist. John’s third letter is to Gaius a friend complaining that a certainDiotrepheslvii would not receive one of John’s letters to the church. Here John is complaining thatanother minister is ministering to his congregation and he is upset over it. He even reports that “if I

come I will remember his deeds”,lviii as if he would enact revenge upon him. Sound very much like what ahardened criminal would say.

Both Saint Peter and Saint Jude taught that there were men that crept into the church and exaltedthemselves into being what they were not. They were ungodly men. Peter & Jude’s letterssandwiched Saint John’s three letters and I believe that this is very telling as to the tone and thedemeanor John’s three letters. This all goes to demonstrate that John’s three letters were writtenfrom the Isle of Patmos.

It is obvious, at least to me that these three epistles were written to point out to the initiate that istoo trusting when reading the sacred scriptures that his trust is unfounded. Humans tend to takebeautiful things as good and ugly things as evil. For the most part the opposite of that is true. ‘Nobody

ever promised the initiate a rose garden’ or that everything is going to be easy in the quest to know God.On the contrary the search for knowledge of God is extremely boring, tiresome and tedious.

DAPHNE & APOLLO

It behooves me to deal with actual mythological story from a totally symbolical point of view so thatthe reader can grasp how these surface narratives, of the sacred scriptures, from around the world,should be taken into account via an interpretive process.

Daphnelix was the daughter of a river god and one-day as Apollo (Sun god) was visiting the differentplaces of the world he spotted a mortal woman and was enamored by her looks. He began to takechase and she spotted him coming towards her and being frightened by his appearance sprinted awayfrom him calling out to her father to save her. Just as Apollo caught up with her and was about to wraphis arms around her Daphne’s father turned her into a laurel tree.

It is said that Daphne symbolically represents the dew and Apollo represents the sun. Pastinterpretations of this myth say that this was a nature myth, which explains to so-called ignorantmortals why the sun evaporates the dew in the morning.

All mythology should be treated like a pirate’s treasure. When a pirate buried his treasure he woulddig a hole and at the bottom he would sprinkle some coin but before he did this he would first bury thetreasure beneath the floor of that hole. Anyone stumbling across the hole would believe he found theremnants of what was once the treasure and would leave with his booty never realizing he left 99% ofthe treasure back in the hole. Such is the case with all mythology around the world. The religious andacademic communities regurgitate what antiquity has miserly doled out to them in the form of tersecommentary. The sole purpose of the ancient scribes in creating these commentaries is to place theinitiate in the proper frame of mind to obtain the answers himself. Without the clues that Apollo


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symbolically represented the sun and Daphne the dew the initiate would be hard press to go anyfurther with this myth.

I have personally never seen the Daphne and Apollo myth taken beyond the idea that is was nothingmore than a nature myth. In fact the commentary that the ancients conducted on this myth toelucidate the roles of the characters within the narrative, is for modern scholarship, evidence of thefact that it is a nature myth.

But consider this, why would Apollo an immortal god attempt to take up with a woman whose lifespan is but a blink of the eye to his concept of time? On the surface of it it is ludicrous to even considersuch a possibility. Therefore, we must ask, what is in Daphne’s disposition that Apollo fell in love with?Dew is nothing more than a thin mist of water spread out over all the earth. For Apollo to takecognizance of this water it would have been liken to looking in a mirror: his fixation therefore isnarcissistic from its very foundations.

As the reader can see we have taken the mythological account of Apollo (sun) and Daphne (dew); anature myth, interpreting it as a sophisticate psychological instability called narcissism often seen inthe behavioral pattern in man’s psyche. So some of the raw material in this myth has been peeledaway so-to-speak to revealed something that has not been considered by others before.

I would imagine that if the sun were able to chase after himself for eternity eventually he wouldrealize that the reflection in the water was his own image. It is not reasonable to believe that Apollowould fall in love with a mere pictorial representation of himself. A picture is not the subject’s truenature. It is not even a frozen moment but rather a wistful one.

What heat does to water is to evaporate it causing it to dissipate into the atmosphere similar tohow steam rises. The initiate would have no alternative but to consider that if Apollo was goingaround the world evaporating the dew and the condensation was continuously rising to blur his visionthen the initiate analyzing the myth ultimately would realize Apollo was creating (bara = separating)the dew into his own image.

I have here taken a so-called Greek nature myth and brought out from it a Judeao Christiandoctrine: “And Elohym said, let us make man in our image, after our likeness; … So Elohym created Adam in hisown image, in the image of God created he him;, male and female created he them.”lx

This is the way that the religious and academic communities should analyze ancient myth by peelingaway at it never being quite satisfied by obtained results. If this work on the first chapter of Genesishas not demonstrated that concept by now the reader will never understand it.

RENDER THEREFORE UNTO CAESARTHE THINGS THAT ARE CAESAR’S

One of the most fascinating New Testament tales is the one told about tribute money to Caesar.One day the scribes and the Pharisees came up to Jesus and said, “Tell us therefore, what thinkest thou?

‘Is it lawful to give tribute money unto Caesar, or not?’lxi But Jesus perceived their wickedness and said,‘Why tempt ye me, ye hypocrites? Shew me the tribute money.’ and they brought unto him a penny. And hesaith unto them, ‘Whose is this image and superscription?’ They say unto him, ‘Caesar’s’. He said untothem, “Render therefore unto Caesar the things which are Caesar’s; and unto God things that are God’s’”:ever since the preachers interpreting the text literally have pounded their pulpits demanding moneyfrom their congregations. But Christ had nothing to do with giving monies to the church.


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My immediate rejoinder after reading this short New Testament anecdote was what part of thepenny belongs to Caesar and what part of it belongs to God? Jesus’ query actually explains whatbelongs to Caesar when he asked whose image and superscription it was. If the etching on the coinbelong to Caesar symbolically this would mean that nothing belong to Caesar. An etching is merely asubjective point of view. Melt the coin down and the metal still exists though the image andsuperscription has vanished. This would mean that the coin itself, which is round symbolizes the soul,represents that which belongs to God.

Obviously the whole point of the story is for the initiate to realize that his only concern in the worldis the salvation of his own soul. He owes the world (Caesar) nothing. This entire incident out of theNew Testament was a graphic depiction of what the soul believes it owes to the world. The individualbelieves he owes something to family, friends, church, and government when all of these thingsrepresent that which symbolizes Caesar. The individual reflects all of the things that make up his life.He is the architect of these outer symbols, which become the image upon his soul.


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ENDNOTES

CHAPTER SIX

PYTHAGOREAN MATHEMATICS& THE KAMEA OF SATURN

i“Christ My Refuge”, Christian Science Hymnal, by Mary Baker Eddy, pg. 12, 13iiGenesis 11:4.iiiThe Pythagoreans actually called the MONAD God. That is because God is the only. Nothing exists outside of Him. And, yet,the Monad cannot be God because it represents the garment of mythology that encloses the light that comes from the empyrean.As the ancient sages said, “no tongue has soil God’s name”: once the spiritual light is named that mythology becomes its garment.Mythology is symbolically the first letter of the Torah: BETH.ivThis is why the manna from heaven described in the Old Testament could not be used the next day: two days in a row. Once asection of the sacred scriptures is studied and understood from one perspective that very same perspective of the text cannot beused, by the same individual, to obtain a fleeting intuitive understanding of Christ. One cannot re-chew the same food and obtainthe same nutritional value. This of course is not to say that the same text cannot be studied from another perspective to obtainfurther glimpses of Christ.v Do not confuse this analogy of the esoteric with CG Jung’s description of the dynamics of the Shadow: unconscious mind,which when repressed memories become known consciously they cease to be unconscious.viEucharistic unleavened bread has practically no nutritional value whatsoever for the body because it is so thin: if anything thiswheat wafer’s nutritional value would be minute if anything.viiIn other words anything done by the mind of man materialistically or spiritually is excrement: this is why the canonizedscriptures can be called human excrement though it is a highly mystical document. The Torah cannot be a practical mystical andspiritual document until the initiate starts studying it for the purpose of obtaining knowledge of God.viii

This understanding of the eternal Torah is similar to what Saint John says about the world not being able tocontain the books that can be written concerning Christ.ixThe earth circles the Sun not vice versa: mythological stories need not be scientifically correct to get their points across eventhough the ancient storytellers knew the truth concerning the Earth circling the Sun.xBelief implies doubt

xiSERPENT IN THE SKY: The High Wisdom of Ancient Egypt (pg. 13), by John Anthony West. Here West eulogizes the work

of R. A. Schwaller de Lubicz who believed and demonstrated that there was no evolutionary period in the Egyptian Civilization aswe also claim for Greece, Christianity, and other cultures.xii

THE BIG BANG: The Creation and Evolution of the Universe, by Joseph Silkxiii

THE ORIGIN OF SPECIES, by Charles Darwinxiv

GREEK MATHEMATICS [2 Volumes] (Vol. 1, pg. 76), by T. L. Heath. THE PYTHAGOREAN SOURCEBOOK ANDLIBRARY (pg. 29) compiled and translated by Kenneth Sylvan Guthrie. THE THEOLOGY OF ARITHMETIC [attributed toIamblichus] (pg. 10), Iamblichus’ definitions of the first four numbers is by far the best definition of the Tetractys to date (pg. 35-63), trans. by Robin Waterfield.xv

SECRET TEACHINGS OF ALL AGES (pg. LXVII), by Manly P. Hallxvi

IBID (pg. LXVIII)xvii

Acts 17:3.xviiiA HISTORY OF PHILOSOPHY [Fire taught by Heraclitus] (pg. 20), by Frederick Coplestonxix

IBID [Air taught by Anaximenes] (pg. 20)xx

IBID (Water taught by Thales] (pg. 20)xxi

LAROUSSE ENCYCLOPEDIA OF ASTROLOGYxxii

THE SEVEN LIBERAL ARTS IN THE MIDDLE AGES, by David L. Wagnerxxiii

THE THEOLOGY OF ARITMETIC (pg. 35-63), by Robin Waterfield. DANTE: The Banquet (Chapter Thirteen), byChristopher Ryan. THE SEVEN LIBERAL ARTS IN THE MIDDLE AGES, by Otto von Simson, THE GOTHICCATHEDRAL: Origins of Gothic Architecture and the Medieval Concept of order.xxiv

APOCALYPSE: Visions from the Book of Revelation in Western Art, by Frederick van der Meer “John and seven of hiscommentators. Miniature of Beatus’s commentary on the Apocalypse (about 785), in which the Fathers represented in the picture are frequently quoted.Paris, BN lat. 8878, f.13v. The manuscript was illuminated about 1076, after a Spanish model, at St-Sever, on the Adour (Landes).”


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xxvLAROUSSE ENCYCLOPEDIA OF ASTROLOGY

xxviGenesis 1:1-31; see also THE SEFER YETZIRAH: The Book of Creation in Theory and Practice (pg. 6-7) by Aryeh Kaplan

xxviiThe author of the Torah ‘esoterically (hidden beneath the text)’ wrote the Seventh Day (Sabbath) week into the first chapter of

Genesis somewhat differently than Yahweh Elohym does ‘exoterically (surface text)’ in the second chapter of Genesis.xxviii

I would agree that the empyrean: i.e. God does not plan mathematical scenarios to be placed into the text. God’s light shine inthe universe and it is up to man to discern that light. The fact that mathematics exudes these patterns that the ancient scribescoded into the text is demonstrable evidence that man did not invent these phenomenon but rather records them because they areseen to come from the spiritual realm.xxix

Christopher Ryan, trans., “Dante: The Banquet” (Chap. #13). Dante Alighieri’s “La Divina Commedia” (see the Paradiso).Michael Grant, trans., “Cicero: On the Good Life,” (pg. 34 6). Robin Skelton, “Talismanic Magic” (pg. 123-130), Note how the7-kameas named after the 7-planets follow this same mathematical format. Also see Israel Regardie, “The Complete Gold DawnSystem of Magic” (pg. 43-46).xxx

LAROUSSE Encyclopedia of Astrology, Capricorn is the 10th-sign of the Zodiac. Aries combined in Leo (or spirituality in acontainer or cup). Ten represent darkness the absence of light.xxxi

Modern day school children carry around these notebooks, however, here in the latter parts of the twentieth and early parts ofthe twenty-first century these composition books can be any color.xxxii

This has already been demonstrated in CHAPTER THREE.xxxiii

This would be analogous to the stellar universe, which seem at first sight to be chaos but by studying it we can see it has itsown structure and cosmic order.xxxiv

Actually, I would come to realize that both the Kabbalistic Tree of Life and the Tree of the Knowledge of Good and Evilwere one and the same tree.xxxv

The four square city that St. John speaks of in his Revelations and St. Thomas talks about in his gospel when he say that “thekingdom of God is spread out on the earth and men do not see it.”xxxvi

Theoretic Arithmetic of the Pythagoreans (pg 38), by Thomas Taylor [originally published in 1816] reprinted for modern timesby Kessinger Publishing’s Rare Reprint: www.kessinger.netxxxvii

THE ALEF-BEIT: Jewish Thought Revealed through the Hebrew Letters (pg. 140), by Rabbi Yitzchak Ginsburgh, here I usethis reference to show that such a concept is not out of bounds with others that have similar thoughts on the text of the sacredscriptures.xxxviii

It should be pointed out that this serpent is not the same as the Kundalini, which as illustrated going up the central column ofthe Kabbalistic Tree of Life. In fact it will be demonstrated that the Rattle Snake is depicted in the first chapter of Genesis. It isalmost as if the authors of Genesis wanted to give the impression that it represents a den of vipers. However, in ancient times thesnake has a spiritual symbolic connotation.xxxix

INNUMERACY: Mathematical Illiteracy and its Consequences, by John Allen PailsxlI should qualify this statement by saying that previous dispensations had to have known this knowledge: i.e. the High Medieval

period (ca. 10-century to mid 16-century), which would include the Cathedral builders to the late Renaissance, however, personallyI cannot point to any particular personage in that past as having this knowledge.xli

Realistically, writing this book allows me to put my thoughts into an orderly structure where I can understand it. It has takenyears of accepting and rejecting an ocean of trash to come to the point that I am at. My biases, prejudices and preconceivednotions that I have discarded along the way will not be the same as other people. Other people’s foibles may be stronger orweaker than mine.xlii

Let me make something very clear here. Everything a human being does: thought, word and/or deed are the excrements of hismind. This may appear as a gross analogy but it is a fact that must be faced up to. The Egyptians has a Dung Beetle, in theirmythology, pushing a ball of dung up a hill and the beetle does this throughout its life. This is precisely what a human being doeshis or her whole life. The human being for all intent and purpose has lived that part of his existence out (writing a book, buildinga house, raising children, inventions, etc., etc.) and the end product of those thoughts, words or deeds have already beenexperienced.xliii

THE THEOLOGY OF ARITHMETIC, translated by Robin Waterfieldxliv

MARTIANUS CAPELLA and the SEVEN LIBERAL ARTS: Volume II The Marriage of Philology and Mercury, translated byWilliam Harris Stahl and Richard Johnson (pg. #277)xlv

THE MYSTERIES OF THE FULL MOON, narrated by Ron Haddrick, (This quote was from Patrick Moore a very famousastronomer in England, who popularized astronomy for the masses in that country.)xlvi

A television series called “IN SEARCH OF” one episode called “Did UFO visit Earth?” narrates Mr. Chatelain remarkablediscovery and his belief it represented the Maltese cross. I want to make it perfectly clear that I do not believe in UFO nonsenseor anything associated with so-called alien races from outer space. My interpretation is that these temples depict the pattern of


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the Kamea of Saturn, which the esoteric science uses throughout the world.. See also the Internet site:http://galacticconnection.com/orion.htmxlvii

Revelation 1:9;xlviii

ROSE WINDOWS, by Painton Cowenxlix

IBID, In referring to the imagery of the Luasanne Rose Window the author states, “Its imagery represents the culmination ofcosmological speculations that go back to Greece and Rome. Its sources of inspiration can be traced to Pliny, Aristotle, Solinus, Isidore of Seville and theVenerable Bede – and possibly even the Prester John legend. Its immediate source is probably Honorius of Autun, the medieval encyclopaedist, and itsscale of conception and construction is clearly linked to the School and cathedral of Chartres (pg. 128).” Notice how wrong the modern day academic is.He is the one that is speculating and not the people that actually created the window. The Luasanne Rose Window was obviously created by theinspirational mathematical data in the first chapter of Genesis.lIBID (pg. 130), Painton Cowen has truly done a marvelous thing with his numbered diagram..liDie Rose der Kathedrale von Lausanne, Berne 1952, by Ellen J. Beer. This work of Professor Ellen J. Beer was in German and

this is all I could personally obtain from her work which couple with Painton Cowen’s work is adequate.liiWORD AND IMAGE, by Carl G. Jung: illustrations of the Kamea of Saturn: “#71 The city and island of Mexcaltitlan, in Mexico.

Settlement of the island goes back to pre-Columbian times. Its residents to this day consider the village the center of the universe. The cross formed by thealleys as they transect the ring-shaped settlement it supposed to mirror the division of the arc of the heavens into the ‘Four Corners of the earth’”. Thisisland is said to be the origin of the Aztec Civilization, which Mexico City was originally patterned. “#72 Tibetan mandala used asan instrument of contemplation. The most significant religious mandalas are to be found in Tibet Buddhism. The mandala strengthens concentration byfocusing the eyes on the center.” NUMBER AND TIME, by Marie-Louise von Franz. I-Ching Book of Changes, translated by JamesLegge, ‘here Legge narrates the Chinese story of finding the Lo Shu (Kamea of Saturn) on the back of a turtle. The turtle is ofcourse the universe.’ The figure #2 Hexagrams arranged and ascribed to Fu-his, shows the turtle in the 8 x 8 hexagram matrix.There are three kinds of hexagrams: those with four or more broken lines, those with four or more solid lines, those with threebroken lines and three solid lines. The three solid lines and three broken lines form the image of a turtle in this hexagramarrangement.’ THE TALISMANIC MAGIC, by Robin Skelton (pg. 123-130). AN ANTHOLOGY OF I-CHING, by W.A.Sherrill and W.K. Chu (pg. 81-82). HISTORICAL ATLAS OF WORLD MYTHOLOGY (5-Vols.), by Joseph Campbell‘Swastika beaten into copper found in the mounds built by the ancient Hopewell Indian in Ohio (Vol. #1, Part #2: pg. 211-213,Vol. #2, Part #1: pg. #28 (shows swastikas from around the world), Part #3: pg. 332 (shows swastikas from South AmericanTropical Forest tribes).liii

THE KI: An Ancient Oracle For Modern Times, by Takashi Yoshiikawa, ‘here the ancient Japanese created an entire oraclesystem called the Ki based upon the Lo Shu 9 basic kameas’ movements: a study in Ki energies. These ancient Japaneseacknowledge they owe a great deal to the I Ching.liv

THE GOSPEL OF THOMAS: The Hidden Sayings of Jesus (#113), translated by Marvin Meyerlv1 John 2:1;

lvi11 John 1:1;

lvii111 John 1:9;

lviiiIBID 1:10;

lixTHE METAMORPHOSES OF OVID (Book 1: 452-567), translated and with an introduction by Mary M. Innes, Penguin

Books, also see BULFINCH’S MYTHOLOGY (pg. 21-23), by Thomas BulfinchlxGenesis 1:26, 27;

lxiMatthew 22:17-22;

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