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

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





‚ 
€ 

♀ 
♂ 




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