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From: BARILOCHENSE6999  (Original message) Sent: 16/10/2017 17:32


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From: BARILOCHENSE6999 Sent: 04/10/2019 18:37
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Soul, Body and Spirit



http://www.spirasolaris.ca/solexp3.html


The ALCHEMICAL Aspect

Quote:
In light of the above there seems little doubt that in general and in the present astronomical context in particular, Spira Solaris qualifies to be described numerically as "the One and the Many," the "One and the All," "the Alpha and the Omega," and also (from The Chaldean Oracles): "Fountain of Fountains, and of All Fountains,
The Matrix of all Things."
.....
Pythagoras said the sacred Tetractys is: ` the spring having the roots of ever-flowing nature.' .... The four parts of the Decad, this perfect number, are called number, monad, power and cube. And the interweavings and minglings of these in the origin of growth are what naturally completes nascent number; for when a power of a power; and a cube is multiplied on a cube, it is the power of a cube; and when a cube is multiplied on a cube, the cube of a cube; thus all numbers, from which arise the genesis of what arises, are seven: number, monad, power, cube, power of a power, power of a cube, and cube of a cube.
.....
We have seen that the whole nature of things, all the essential properties of physis, were believed by the Pythagoreans to be contained in the tetractys of the decad; and it now appears that, just as we should expect, this ' fountain of ever-flowing nature' contains the periodic movement of life, evolving out of unity and reverting to unity again, in the recurrent revolution of a wheel of birth. It embodies the fundamental Dionysiac representation of palingenesia.
But there is something more in it than this. Pythagoras inherited the music of Orpheus, as well as the reincarnation doctrine of Dionysus. From the Orphics he inherited also the doctrine of the fall of the soul from its first perfect state of union with the divine, its degradation into the darkness of this life and of the underworld, and its final restoration to peace and unity. Now, on the model of this doctrine of the fall of the soul, the Pythagorean philosophy must hold that all existence proceeds out of the One and returns to it again; and that the One alone is perfect, while the manifold world of visible body is a turbid medium of appearance, in which the one truth is half-revealed and half-concealed, as the divine soul is manifest in the flesh and yet obscured by it and degraded.
There is thus, inherent in the representation handed down from Orphism to Pythagoras, not only the primitive wheel of birth, but another aspect of the movement of life, which is best described as a processional movement out of unity into plurality, out of light into darkness. This movement, also, must be revealed in the nature of numbers, and contained in the tetractys. Pythagoras found it in the procession of numerical series, the study of which he originated, thereby rounding the science of number. It is practically certain, also, that in music he discovered the ratios of the octave, the fifth, and the fourth, contained in the harmonic proportion 12: 8: 6. Now a progression like those contained in the tetractys of Plato's worldsoul --the series, 1: 2: 4: 8, 1: 3: 9: 27– is what the Pythagoreans called an harmonia; it is a continuous entity knit together by a principle of unity running through it, namely the logos or ratio (1/2 or 1/3) which links every term to its predecessor by the same bond. Both series, moreover, radiate from the One, which in Pythagorean arithmetic was not itself a number, but the source in which the whole nature of all numbers was gathered up and implicit. When we note, further, that every number is not only a many, but also one number, we can see how Pythagoras would find the whole movement of cosmic evolution contained in the procession of series, in which the One passes out of itself into a manifold, yet without losing all its unity, and a return from the many to the One is secured by that bond of proportion which runs, backwards and forwards, through the whole series and links it into a ' harmony.' It is thus that we must understand the doctrine that ' the whole Heaven is harmony and number.' The processional movement of physis is modelled upon that of soul, which falls from its first state of union with the divine, but yet remains linked to the One life by mysterious bonds, and can return to it again, purified by music.
......
As for the "geometric figure", that we may already have (whether applicable here or not) and although the concept of "organic motion" may strike some modern readers as strange, it is nevertheless an underlying feature in many ancient major works--the Timaeus of Plato especially. Here it may also be observed that by expressing the exponents of this short section of the Phi-series planetary framework in thirds, the sets [3, 6, 9 , [4, 8, 12] and [6, 12, 18] are also apparent--sets that may or may not be considered further with respect to other passages in Plato, etc.
......
It is in the same fashion that the Timaeus also tries to give a physical account of how the soul moves its body; the soul, it is there said, is in movement, and so owing to their mutual implication moves the body also. After compounding the soul-substance out of the elements and dividing it in accordance with the harmonic numbers, in order that it may possess a connate sensibility for 'harmony' and that the whole may move in movements well attuned, the Demiurge bent the straight line into a circle; this single circle he divided into two circles united at two common points; one of these he subdivided into seven circles. All this implies that the movements of the soul are identified with the local movements of the heavens. (Aristotle, On the Soul)
......
Mind is the monad, science or knowledge the dyad (because it goes undeviatingly from one point to another), opinion the number of the plane, sensation the number of the solid; the numbers are by him expressly identified with the Forms themselves or principles, and are formed out of the elements; now things are apprehended either by mind or science or opinion or sensation, and these same numbers are the Forms of things. Some thinkers, accepting both premises, viz. that the soul is both originative of movement and cognitive, have compounded it of both and declared the soul to be a self-moving number. (Aristotle, On the Soul)
......
Thus that in the soul which is called mind (by mind I mean that whereby the soul thinks and judges) is, before it thinks, not actually any real thing. For this reason it cannot reasonably be regarded as blended with the body: if so, it would acquire some quality, e.g. warmth or cold, or even have an organ like the sensitive faculty: as it is, it has none. It was a good idea to call the soul 'the place of forms', though (1) this description holds only of the intellective soul, and (2) even this is the forms only potentially, not actually. (Aristotle, On the Soul)
.....
there will be a need for several sciences. The first and most important of them is likewise that which treats of pure numbers--not numbers concreted in bodies, but the whole generation of the series of odd and even, and the effects which it contributes to the nature of things. When all this has been mastered, next in order comes what is called by the very ludicrous name mensuration, but is really a manifest assimilation to one another of numbers which are naturally dissimilar, effected by reference to areas. Now to a man who can comprehend this, it will be plain that this is no mere feat of human skill, but a miracle of God's contrivance. Next, numbers raised to the third power and thus presenting an analogy with three-dimensional things. Here again he assimilates the dissimilar by a second science, which those who hit on the discovery have named stereometry [the gauging of solids], a device of God's contriving which breeds amazement in those who fix their gaze on it and consider how universal nature molds form and type by the constant revolution of potency and its converse about the double in the various progressions. The first example of this ratio of the double in the advancing number series is that of 1 to 2; double of this is the ratio of their second powers [ 4 ], and double of this again the advance to the solid and tangible, as we proceed from 1 to 8 [ 1, 2, 2^2, 2^3]; the advance to a mean of the double, that mean which is equidistant from lesser and greater term [the arithmetical], or the other mean [the harmonic] which exceeds the one term and is itself exceeded by the other by the same fraction of the respective terms--these ratios of 3 : 2 and 4 : 3 will be found as means between 6 and 2: why, in the potency of the mean between these terms [ 6 x 2 ], with its double sense, we have a gift from the blessed choir of the Muses to which mankind owes the boon of the play of consonance and measure, with all they contribute to rhythm and melody.
So much, then, for our program as a whole. But to crown it all, we must go on to the generation of things divine, the fairest and most heavenly spectacle God has vouchsafed to the eye of man. And: believe me, no man will ever behold that spectacle without the studies we have described, and so be able to boast that he has won it by an easy route. Moreover, in all our sessions for study we are to relate the single fact to its species; there are questions to be asked and erroneous theses to be refuted. We may truly say that this is ever the prime test, and the best a man can have; as for tests that profess to be such but are not, there is no labor so fruitlessly thrown away as that spent on them. We must also grasp the accuracy of the periodic times and the precision with which they complete the various celestial motions, and this is where a believer in our doctrine that soul is both older and more divine than body will appreciate the beauty and justice of the saying that ' all things are full of gods ' and that we have never been left unheeded by the forgetfulness or carelessness of the higher powers. There is one observation to be made about all such matters. If a man grasps the several questions aright, the benefit accruing to him who thus learns his lesson in the proper way is great indeed; if he cannot, 'twill ever be the better course to call on God. Now the proper way is this--so much explanation is unavoidable. To the man who pursues his studies in the proper way, all geometric constructions, all systems of numbers, all duly constituted melodic progressions, the single ordered scheme of all celestial revolutions, should disclose themselves, and disclose themselves they will, if, as I say, a man pursues his studies aright with his mind's eye fixed on their single end. As such a man reflects, he will receive the revelation of a single bond of natural interconnection between all these problems. If such matters are handled in any other spirit, a man, as I am saying, will need to invoke his luck. We may rest assured that without these qualifications the happy will not make their appearance in any society; this is the method, this the pabulum, these the studies demanded; hard or easy, this is the road we must tread. (The Collected Dialogues of Plato)

http://www.spirasolaris.ca/sbb4d.html
1998 + ONEneo = 1999 http://en.wikipedia.org/wiki/The_Matrix

http://en.wikipedia.org/wiki/Aztec_calendar_stone
http://en.wikipedia.org/wiki/Theory_of_relativity
http://en.wikipedia.org/wiki/Magic_square
http://en.wikipedia.org/wiki/Sierpinski_triangle
http://www.davidicke.com/forum/showt...=61370&page=73


http://www.spirasolaris.ca/sbb4d2c.html


http://www.banksy.co.uk/

http://edition.cnn.com/2013/10/28/us...ter-editorial/



http://www.davidicke.com/forum/showp...postcount=1449
 
__________________
CRISTIS

Last edited by science2art; 02-11-2013 at 05:54 PM. Reason: Thatcheria mirabilis Spiral/911 "betrayal"
https://forum.davidicke.com/showthread.php?p=1061814088

Reply  Message 3 of 6 on the subject 
From: BARILOCHENSE6999 Sent: 12/02/2020 01:25
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MATT 16:18 is an in your face glyph for the golden mean ratio 1.618

(“MATT” is pun of “MATTER”)

Golden Mean ratio of 1.618

Golden Mean ratio of 1.618

The Golden Meand and the Equilateral Triangle in a Circle

The Golden Mean and the Equilateral Triangle in a Circle; THE CRUCIAL FACT IS THE MIDPOINT OF THE TRIANGLE SIDE

Star Tetrahedron, formed by the MIDPOINTS OF THE CENTRAL EQUILATERAL TRIANGLE

Star Tetrahedron, formed by the MIDPOINTS OF THE CENTRAL EQUILATERAL TRIANGLE  (the blue and rose colored lines indicate these midpoint halves)

 
 
 
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Saint Mary Magdalene in Venice

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A closer look

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Reply  Message 4 of 6 on the subject 
From: BARILOCHENSE6999 Sent: 08/03/2021 02:41


Reply  Message 5 of 6 on the subject 
From: BARILOCHENSE6999 Sent: 21/08/2021 00:21
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Reply  Message 6 of 6 on the subject 
From: BARILOCHENSE6999 Sent: 04/12/2022 01:11

Sacred Geometry

Sacred Geometry, forms the underlying principles of its Religious Architecture, Art and Music in Venice.  Evidence suggests that the original layout of the early city was planned, using  these ancient geometrical and mathematical considerations One good example is in the siting of groups of Bell-Towers (Campaniles), that contributed towards the development and success of this great city.  In what is a “labyrinth” of canals and walkways; these high towers aided communication (by visual line of site and sound), movement around the city and maintenance of authority, security and defence.


 

Sacred Geometry: the “Starred Dodecahedron” at St Mark’s Basilica. To the left of the main doorway on the floor, is a curious mosaic of a starred dodecahedron; attributed to Paolo Uccello (1397-1475), the famous Florentine Renaissance artist.  It is thought that his main influence was Luca de Pacioli (1445-1517), a Franciscan monk and famous mathematician, considered the father of modern book-keeping.

In 1509 in Venice, de Pacioli published “De Divina Proportione”; primarily concerned with the “Golden Ratio” and its use in architecture and painting.

The dodecahedron is a twelve-sided or faceted figure.  Each facet has five sides, so by extending the sides out to meet and form “pyramids”; a star is formed.  Hence, the starred dodecahedron is made up of twelve pentagons.

The significance of this was that the pentagon (a five-sided figure with straight and equal sides), was to the wise men of Antiquity, symbolic of Venus; the planet governing Venice.  Hence the importance of its presence at St Mark’s Basilica.

In traditional symbolism, the dodecahedron was the form that best represented the manifestation of God in Nature.  For Plato it symbolised “Cosmic Harmony”.  It is a three-dimensional representation of the symmetry of the pentagon and the “Golden Ratio”, that occurs naturally throughout the natural world.

This golden ratio (or golden mean), is the essential property of the dodecahedron and other geometric forms described by Plato as “celestial”.  Five in number, they were the model for all the forms found in the natural world.  Sacred geometry is the underlying and organising principle of Creation.  These universal forms are systematically organised in a geometrical form in which each figure has its own mathematical and philosophical interpretation; hence their use in religious architecture and art.

 

SACRED GEOMETRY

Sacred geometry is a  vision of the world, according to which the basic criteria for existence, are perceived to be sacred.  By learning its laws, principles and the interrelationships of shapes, the “Universal Grand Project” (Magnum Misterium), can be contemplated.

Five universal shapes or forms known as the “Platonic Solids” (after Plato), are systematised in a geometric complex, in which each figure has its own mathematical and philosophical interpretation.

They are applied in projects of sacred architecture and sacred art, which always uses the “divine proportions”, in which Man reflects the Universe and the Universe reflects Man.  It is commonly believed that sacred geometry is found in Music, Light and Cosmology.

Some consider it to be a universal facet of the human condition; as for example when man discovered its system of values, in Megalithic and Neolithic cultures.

Sacred Geometry is fundamental to the construction of churches, synagogues, temples and mosques and to their interior design and proportions.  Passed down through Graeco-Egyptian culture, to ancient Rome and then inspiring the medieval Roman and Gothic architecture of European cathedrals; which incorporated this geometry of sacred symbolism.

 

THE FIVE PLATONIC SOLIDS (after Plato)

Pythagoras the philosopher and mathematician, was said to have founded the system of Sacred Geometry at his school in Croton, Greece.   It is believed that he brought back his knowledge, from travels to Egypt and India.  He created “Pythagorian Geometry” by using the golden ratio of 1.618 and applying it to the geometric forms of the five basic solids.  Plato, mentioned them to such a degree that they became known as the “Five Platonic Solids”.

It was a Greek myth that inspired Pythagoras, about the child-god Dionysus’s toys: a basket, dice, top, ball and mirror.

On a cosmic level:

The Basket: represents the Universe

The Dice: represents the five Platonic solids symbolising the natural elements: ether – air – fire – water – earth.

The Top: is the atom of the matter.

The Ball: is the earth’s globe.

The Mirror: reflects the work of the Supreme Geometrist, (Dionysus), which itself is the universal manifestation of Life and Consciousness; of God towards Man and Man towards God.

Each of the five Platonic solids represent a planetary energy, that is connected by its form to a natural element.

The five basic solids are: the tetrahedron (pyramid) – four sides, the hexahedron (cube) – six sides, the octahedron – eight sides, the dodecahedron – twelve sides and the icosahedron – twenty sides.

(Definition – Hedron: : geometrical solids having a specified number of plane faces  Poly: many)

In three-dimensional space, a Platonic solid is a regular, convex polyhedron. It is constructed by congruent (identical in shape and size), regular (all angles equal and all sides equal), polygonal faces with the same number of faces meeting at each vertex.

Five solids meet these criteria:

Dodecahedron: is linked to Venus and Ether, the natural quintessence expressed by a temple’s dome.

Octahedron: is linked to Saturn and the Air, represents the Cross of the  Transcept.

The Tetrahedron:  is linked to Mars and Fire, is represented by openings in the temple, where light gushes through.

Icosahedron: is linked to the Moon and Water, establishes the harmony of forms in the temple’s design; constructing the connecting lines between the alters and columns.

Hexahedron: fixes the Sun to its element, the Earth; by determining the shape of the temple’s foundations or floor.

The main purpose of Sacred Geometry is to create Universal Perfection, through perfect mathematical forms and calculations.  By using sacred architecture, connecting the Multiple to the Single, in a space dedicated to this end.

Here are alternative definitions of Sacred Geometry, that may help understanding of a rather complex subject:

Sacred Geometry is the underlying and organizing principle of Creation.

Five universal forms are systematically organised into a geometric form, in which each figure has its own mathematical and philosophical interpretation; hence their use in religious art and architecture.

These forms best represent the “Manifestation of God in Nature” and our Universe and those beyond” and to Plato was symbolic of “Cosmic Harmony”.

They were the model for all the forms found in the natural world.

Sacred Geometry may be understood as a worldview of pattern recognition, a complex system of religious symbols and structures involving space, time and form.  According to this view the basic patterns of existence are perceived as sacred.

By connecting with these, a believer contemplates the Great Mysteries, and the Great Design.  By studying the nature of these patterns, forms and relationships and their connections, insight may be gained into the mysteries – the laws and lore of the Universe.

Sacred Geometry is another term for the Algorithm, Matrix, Illusion, or Simulation that unites and creates all realities.

Sacred geometry involves sacred universal patterns used in the design of everything in our reality, most often seen in sacred architecture and sacred art.  The basic belief is that geometry and mathematical ratios, harmonics and proportion are also found in music, light, cosmology.  This value system is seen as widespread even in prehistory, a cultural universal of the human condition.

 

ADDITIONAL UNIVERSAL SACRED SHAPES AND PATTERNS

Sphere: Perhaps one of the simplest and most perfect of all forms, the sphere is an expression of unity, completeness, integrity, and equality.  It is the most profound and sacred symbol in the Universe and contains all the wisdom of creation.  It is from the sphere that the other shapes are organized.  With the sphere, we are reminded that everything fits together in perfect proportions and it is the portal that opens you to the workings of nature

The Flower of Life.  The Flower of Life is made of evenly-spaced, overlapping circles with six-fold symmetry similar to a hexagon.  The Flower of Life embodies our Life Force energy, or Chi, and the lifeblood that flows through us.  Our energy, the Earth, and everything in the Universe is woven within a common repeating pattern that manifests in the geometry of this single sacred flower. Its perfect, infinite pattern represents the very thread of our being, stretching across planes and dimensions.  The Flower of Life symbol is used throughout the world. It can be found at the Temple of Osiris in Egypt, the Forbidden City in China, and sacred sites in Israel, India, Spain, and Japan.

The Merkaba.  The Merkaba is another powerful symbol that is created when two star- tetrahedrons are combined – one pointing up to the heavens, channelling energy down from the Universe to the Earth; and one pointing downwards, drawing energy up from the Earth.  The Merkaba is a light vehicle believed to be used by the ascended masters to connect with and transport to the Higher Realms. “Mer” means light. “Ka” means Spirit. “Ba” means Body.  The Merkaba is linked to Metatron, the archangel who is most attributed to sacred geometry and the mysteries and inner workings of the Universe.

The Kaballistic Tree of Life.  The symbol is believed to be derived from the Tree of Life.   The diagram is also used by Christian Cabbala, Hermetic Qabalah and Theosophy.  Kabbalah is an ancient wisdom that reveals how the universe and life work.  On a literal level, the word Kabbalah means “receiving”.  It is the study of how to receive fulfilment in our lives, discover how the universe works and what the meaning of life is.  Essentially, spiritual illumination – a pathway to God.  It is usually referred to as the Kabbalistic Tree of Life, in order to distinguish it from other concepts with the same name.  The Kabbalist seeks to know himself and the universe, as an expression of God and to make the journey of Return by stages charted by the Sephiroth; until he has come to the realisation he sought.

Shell: Passion flower: Spiral Galaxy: Giants Causeway

 

 

 

 

 

 

 

 

 

 

 

 

Fremasonry – The All Seeing Eye

 


 

Please see my other related posts, in the category of: History and Architecture

For those interested in the mysterious, mythical or dark side of Venetian history and culture; I have put together a list of links below to those posts that include elements of Christian Symbolism, Sacred Geometry, Kabbalah, Freemasonry and Alchemy, which I hope to expand.

 

St Mark’s Basilica

The Lion of St Mark

Santa Maria della Salute

Symbolism of the Venetian Cross

Palazzo Lezze and Alchemic Symbolism

Kabbalah and San Francesco della Vigna

La Maddalena and Masonic Symbolism

Doge’s Palace – Column Capitals

Mouths of the Lion

Pateras – Small Circular Reliefs



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