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The Meaning of Sacred Geometry Part 2. What's The

Point? sacredgeometryinternational.com

November 16, 2012 at 2:27 am

The Meaning of Sacred Geometry part 2. What’s the Point?

by Randall Carlson

The Meaning of Sacred Geometry part 1

“Ante omnia Punctum exstitit…”

“Before all things were, there was a
Point.”
Anonymous, 18th century ‘Le Mystere de
la Croix’

Sacred Geometry, to be fully appreciated

and experienced, must be undertaken as a
contemplative, or meditative exercise. From
the initial act of putting pencil or compass
point to paper each act of geometry is
charged with meaning. The process of
SacredGeometry_WhatsThePoint_1 producing the forms, patterns and symbols
of Sacred Geometry should be undertaken
as a ritual act, where each line, curve, shape, gesture or operation takes on a significance far beyond the
mere act itself, and reveals fundamental processes of creativity on a vast scale and range of
phenomenon, from the geometry of atomic and molecular organization, through the forms and patterns of
biological systems, to the scale of the cosmos itself and the very structure of Space and Time. Indeed,
the emergence of the Universe from the unknowable and unfathomable void, before the very existence of
Time and Space, was an act of Geometry. It is nothing less than this ultimate act of Creation which is
replicated through the placing of pencil upon paper and from this point the drawing of a line or arc. From
these simple operations, the Geometrician soon learns to generate an infinite variety of form and pattern,
and is, thereby, following in the footsteps of Nature herself, such being the indispensable requirement for
success on the Hermetic path.

To ancient masters and teachers geometry

was seen as the definitive Holy Science from
which emerged all other sciences. Masonic
author Carl Lundy affirms this status when
he says:

“All science rests upon mathematics, and

mathematics is first and last, geometry…
Geometry is the ultimate fact we have
won out of a puzzling universe.”

“All science rests upon mathematics, and

Fragment of The School of Athens – fresco by Raffaello Sanzio da Urbino. mathematics is first and last, geometry…
Room of the Segnatura (1508-1511), Vatican. Geometry is the ultimate fact we have
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won out of a puzzling universe.”

The presumed requirement on the part of Plato, the acknowledged greatest Metaphysician of the Hellenic
world, that anyone seeking admission to his academy must be conversant with the principles of Geometry,
affirms the importance of this form of mental training to anyone desiring to tread the path to Metaphysical
Knowledge.

It should come as no surprise that ancient Mystics visualized God as a Geometrician. That concept is
nowhere better portrayed than in William Blakes famous 1794 painting The Ancient of Days, depicting the
Demiurge, the Creator God of the Universe, setting his compass upon the Face of the Deep, and through
the turning of the compass bringing Order out of unformed Chaos. This depiction exemplifies the verses
from the 8th chapter of Proverbs, wherein Wisdom establishes her priority in the hierarchy of Creation by
proclaiming:

“I was set up from everlasting, from the beginning, or ever the earth was…While as yet he had not
made the earth, nor the fields, nor the highest part of the dust of the world. When he prepared the
heavens, I was there: when he set his compass upon the face of the deep.”

This concept of God as geometrician is also

depicted in a number of medieval bibles. As
an example, the frontispiece of the Bible
Moralisée, ca. 1250, shows God about to
impart order to the disordered primeval
chaos within the circle by a rotation of the
compass.

All geometric constructions begin with a

single point, represented by the moment that
the point of the compass or the point of the
pencil contacts paper. The construction can
God as Geometrician
commence with either a straight line or the
arc of a circle. Through the combination of
straight lines and arcs the entire edifice of geometry can be produced. To begin an exercise in Sacred
Geometry four tools are required: A clean sheet of paper, a straight-edge of some kind, a pair of drawing
compasses and a good sharp pencil. With these tools, and an appropriate state of mind, the geometrician
can imitate the primordial process by which the Universe of Time and Space emerged into existence. In
the compass itself we have symbolized the primordial duality of Rest and Motion, of stillness and action,
for one point of the compass remains fixed while the other moves, generating the center and the
circumference of a circle, generatrix of all subsequent form.

Metaphysical traditions have provided us with a variety of models to facilitate comprehension of the
fundamental process of Creation. In the Pythagorean system, in the Tantric system and in the Kabbalah,
this process commences with the manifestation of a single dimensionless point, a point, however, of
infinite potentiality. Modern cosmology now concurs with the ancient models by postulating the existence
of an ultimate singularity that preceded the Big Bang— or however one cares to describe the initial
moment of existence — the difference being that the archaic model requires an act of Deity while the
modern view dispenses with a creative intelligence.

Kabbalistic Scholar Z’ev ben Shimon Halevi describes the process of Creation from the perspective of
Kabbalah, the ancient system of Jewish mysticism:

“…the EN SOF AUR, the Endless Light of Will, was omniscient throughout Absolute All. From God
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knowing All, God willed the first separation so that God might behold God. This, we are told, was
accomplished by a contraction in Absolute All, so as to make a place wherein the mirror of
Existence might manifest. The place that was vacated was finite in that it was limited in relation to
Absolute All that held it. This act of contraction, or Zimzum, as it was called, brought about the
void of Unmanifest Existence even though it was, we are told, the size of a dimensionless dot in
the midst of the Absolute.” 1

In Kabbalah the point, or dimensionless dot in the midst of the Absolute, is understood to be the
condensation, or distillation of Gods essence. It first appears against the background of negative
existence, but this background is separated from the ‘Absolute.’ It is this separation that forms initial act of
manifestation. The Absolute from which the infinitesimal point is contracted is beyond all words and
definitions, it is beyond space and time, it is beyond Eternity, it is beyond Infinity. To speak of it is utterly
futile; it is both everything and nothing simultaneously. Between this indescribable, unimaginable and
incomprehensible state and the Universe of galaxies, stars, planets, atoms, molecules, gravity, radiation,
life— in short— Creation as we experience it, lies the zone of negative existence. The same author,
Halevi, in An Introduction to Cabala describes this zone:

“Negative existence is the intermediary zone between the Godhead and his creation. It is the
pause before the music begins, the silence behind each note, the blank canvas beneath every
painting and the empty space ready to be filled. Without this non-existent Existence nothing could
have its being. It is a void, yet without it and its potential, the relative Universe could not come into
manifestation.”2

However, according to the tenets of

Kabbalism, this zone has a structure
comprised of three ‘veils’. That veil which is
nearest our relative universe is the veil of
Limitless Light, in the terminology of
Kabbalah, the Ain Soph Aur. This Limitless
Light Halevi likens to cosmic rays which are
everywhere throughout the Universe and
can penetrate densest matter. The second
veil is Ain Soph, simply that which has no
limit. It is the zone where the Ultimate void
begins to emerge into something, but
The Three Negative Veils
something without limits, utterly without end.
NO-thing lies beyond this, the veil called
simply, Ain. Beyond Ain is the Absolute. Halevi describes the nature and quality of the three veils:

“These three stages constitute a condensing, a crystallizing out of the Being who permeates the
whole of All; of a point in the centre of a circumferenceless sphere. This distillation, this point, is
without dimension either in time or space, yet it contains all the worlds from the uppermost realm
down through the ladder of creation to the lowest end…This all inclusive dot is called the First
Crown, the first indication of the Absolute, perhaps better known as I AM, the first of many God
names.” 3

The mention of the “First Crown’’ refers to the now famous Kabbalistic “Tree of Life,” which is represented
graphically as a beautiful and elegant exercise in Sacred Geometry, where form and meaning are merged
in a perfect synthesis, demonstrating the worlds and levels of creation emanating from the all inclusive
“dot” through a process of geometrical evolution. The ladder is an important symbol of the Great Work,
representing the linking of Heaven and Earth and is prevalent in the symbolism of Freemasonry. Again,

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Geometry provides the key to this cosmic synthesis, but that is a matter for another discussion.
Another modern Kabbalistic author, Charles Ponce, describes the process of Zimzum in similar terms as
Halevi. (Although spelling it differently)

“The term tsimtsum originally meant

‘contraction’ or ‘concentration’, &
appeared in the Talmud where it was
used to describe God’s projection and
concentration of his divine presence, his
Shekkinah, at a single point…This
voluntary contraction on the part of God,
the En-Sof in this case, is the act which
causes creation to come into existence.
Without this act there would have been
no universe. ” 4

The point, or distillation without dimension,

Kabbalistic Tree Of Life Diagram and FreeMasonic Tracing Board
to which Halevi and Ponce refer, has a
precise correspondence in Geometry, for in any geometric figure a point is considered to be without any
dimension whatsoever. The point lying on the center of a line, for example, divides the line into two equal
parts whose sum is exactly the same length as the whole line. The point of division occupies no space at
all, yet from such an utterly insignificant point, condensing out of the zone of negative existence, the whole
edifice of Geometry emerges. The “blank canvas beneath every painting and the empty space ready
to be filled”, is represented in the ritual of Sacred Geometry by the blank sheet of paper upon which the
forms, figures and patterns are set down by the hand of the Geometrician, and, in the language of modern
physics it represents the quantum vacuum from which a seething ocean of virtual particles springs forth to
become the universe of infinitely varied form that we experience.

In the realm of Sacred Architecture the single point represents the omphalos, the position from which the
physical form of the Holy Temple emerges, defined precisely by the sharp point of the plumb bob,
suspended on the end of a cord and directed by the force of gravity to demarcate the vectorial line linking
the celestial zenith with the center of the Earth. The construction of the Temple was perceived as a ritual
act recapitulating the process of Divine Creation.

The construction of the Temple was perceived as a ritual act recapitulating the process of Divine Creation.

In Masonic tradition the single reference point was established in the northeast corner of the building, at
which position the cornerstone was placed as the initial act of construction. In the northern hemisphere the
northeast corner would be the place of greatest darkness, typically the part of the structure that would not
receive direct sunlight. Therefore, symbolically speaking, the growth of the Temple itself, while undergoing
construction, would be from the place of darkness towards the light. The Temple with its various ratios and
proportions, was understood by all ancient builders and mystics, to be the embodiment and symbolic
representation of the universe itself, and, therefore, the building of the Temple was required to emulate
the process by which the universe came into existence. It was understood that the Temple, like the
universe, was a living entity and the minute point of origin signifying the Northeast corner was the
metaphysical seed from which it grew.

This idea of an infinite potential materializing

out of an infinitesimal point is exemplified in
the New Testament parable of the
mustard-seed, Mark, 4th chapter:

“Whereunto shall we liken the kingdom of

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God? or with what comparison shall we
compare it?
It is like a grain of mustard-seed, which,
when it is sown in the earth, is less than
all the seeds that be in the earth: But
when it is sown, it groweth up, and
becometh greater than all herbs, and
shooteth out great branches; so that the
fowls of the air may lodge under the
shadow of it.”

These passages convey profound meaning

on multiple levels simultaneously. The
George Washington in Masonic Cornerstone Laying Ceremony // Plumb Bob ‘mustard seed’ has meaning in the
and The Omphalos or Foundation Stone of Solomon’s Temple metaphysical/spiritual dimension,
representing the ‘siva-bindu’ the point round which the kundalini serpent lies coiled; on the
Hermetic/Alchemical level, it represents the germ of transmutation; on the level of nuclear physics, it is the
extraordinary power contained within the atomic nucleus, and in the Cosmological dimension, the mustard
seed represents the ultimate singularity containing the potential of the entire universe of Space and Time.
One of the pre-eminent Holy Books of Kabbalah is the Zohar, or Book of Splendor, dating from at least as
far back as the Middle Ages, possibly much earlier, its origins are uncertain. Regarding the immeasurably
small, infinitely potent point it has this to say:

“A dark flame issued from within the most hidden recess, from the mystery of the Infinite…It could
not be recognized at all until a hidden, supernal point shone forth under the impact of the final
breaking through. Beyond this point nothing is knowable, and that is why it is called reshith,
beginning, the first of those creative words by which the universe was created.”5
Zohar, I, 15a

Reshith means ‘beginning’ as ‘In the beginning, God created the Heaven and the Earth’ the opening
words of Genesis. The perspective of the Zohar on these verses opens a portal onto a vast underlying
cosmology that is only accessible to those who employ the mathematical and geometrical keys to unlock
the hidden teachings concealed below the literary imagery.

The perspective of the Zohar on these verses opens a portal onto a vast underlying cosmology that is only
accessible to those who employ the mathematical and geometrical keys to unlock the hidden teachings
concealed below the literary imagery.

Suffice it to point out for now that in the conceptions of the Zohar the universe was created by an act of
speech, through the utterance of the Word. Regarding this unknowable point described in the passage
above, Kabbalistic scholar Gershom Scholem remarks:

“The primordial point . . . was taken to be the second sefirah or first departure from the divine
nothing implied by the image of the point. It is the world seed, the supreme formative and
male-paternal potency, which is sown in the primordial womb of the ‘supernal mother’, who is the
product but also the counterpart of the original point.”6

The sefirah in Kabbalah are the “emanations” of force and form originating out of the Ain Soph Aur, the
third veil of negative existence. The process of emanation of the sefirah corresponds to the unfolding of
form, pattern and proportion through the process of Sacred Geometry, and results in the manifestation of
the Tree of Life. How appropriate it is that the primordial point is conceived as the ‘world seed’ paralleling
the imagery invoked by the Grain of Mustard-seed, and likened here by Scholem to male potency. The
seed metaphor is echoed in the Sanskrit Pratyabhijnahrdayam, a 10th century sacred text of the Advaita
aiva Philosophy of Kashmir, a secret doctrine of Yoga descended from the ancient Indus civilization:
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“As the great banyan tree lies only in the form of potency in the seed, even so the entire universe
with all the mobile and immobile beings lies as a potency in the heart of the Supreme.”
—Partrimik 24

If the primordial point, the singularity, is the creative seed, what, might we ask, constitutes the womb of
the ‘supernal mother’? Geometry provides the answer as we shall see. But whence comes the seed? In
the Etz Chaim (Tree of Life) by Rabbi Isaac Luria (1534 – 1572), a discourse on concepts found in the
ancient Kabbalistic text, the Bahir, we find a description of the process of the self-constriction of God’s
light:

“Before all things were created. . . the Supernal Light was simple, and it filled all
Existence. There was no empty space. . . .
When His simple Will decided to create all universes . . .He constricted the Light to the sides . . .
leaving a vacated space. . . .The space was perfectly round. . . .
After this constriction took place . . . there was a place in which all things could be created. . . . He
then drew a single straight thread from the Infinite Light . . . and brought it into that vacated space.
. . . It was through that line that the Infinite Light was brought down below. . . .”7

Modern Kabbalistic scholar Aryeh Kaplan gives a succinct explanation of this process in his introduction to
the The Bahir Illumination:

“In its literal sense, the concept of Tzimtzum is straightforward. God first ‘withdrew’ His Light,
forming a vacated space, in which all creation would take place. In order for His creative power to
be in that space, He drew into it a ‘thread’ of His Light. It was through this thread that all creation
took place.” 8

Metaphysical author Elisabeth Haich, in her book Initiation, describes the same process from the
standpoint of the Egyptian mystic:

“In order for a force to emerge from the dimensionless state and manifest itself, it needs a point of
departure. A point is dimensionless, has not yet emerged from unity, but is necessary for
manifestation… When the force whose first manifestation was a point emerges from the
dimensionless state and is effective for a period of time, the point moves and forms a line.” 9

“The point moves and forms a line.” The line may be straight or curved, but in either case we have the
transition from the dimensionless point into dimensionality. In the simplest preliminary act of geometric
construction the point of the pencil is first brought into contact with the drawing surface and is then moved
along the straight edge. This first line drawn represents the ‘thread of light’ manifesting in the void during
the process of Zimzum. In the drawing of a circle one first establishes the central point, and then through
the turning of the compass a circumference is generated. The radius of the circle, at this stage of the
work, is implicit but invisible. It is the drawing of the radius from the center to any point on the
circumference that represents the first expansion phase of Zimzum, the projection of a thread of light into
the vacated space of the void. This diagram conveys the idea Zimzum, with the single thread of light
reaching into the void, the zone of Nothingness.

In Kabbalah we learn that the Universe in all

its aspects is represented by the letters of
the Hebrew Alphabet, but more than that, we
learn that the letters not only represent
forces and energies but are themselves
actual signatures of elemental energies, and
the combination of these letters into words
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and names is equivalent to the interplay of
forces that brought about all of Creation. The
letter Yod , the tenth letter, is considered the
seed letter of the Hebrew alphabet. All other
letters can be seen as combinations and
permutations of the basic Yod, and the Yod
begins with the appearance of its’ uppermost
point, from which the remainder of the body
of the letter flows forth. This point is the
Singularity and the Yod itself represents the
motion of that point through the first
infinitesimally short increment of time and
space.
This diagram conveys the idea Zimzum, with the single thread of light reaching
into the void, the zone of Nothingness.
19th century French occultist M. Encausse,
writing under the pseudonym of Papus,
authored a number of books on Kabbalah,
Tarot, and kindred subjects of the Western
esoteric tradition. In his book ‘The Tarot of
the Bohemians’ he describes the role of the
Yod in the development of the kabbalistic
language.

“The Yod, shaped like a comma or a dot,

represents the principle or origin of all
things. The other letters of the Hebrew
alphabet are all produced by different
The 10th and smallest letter or “seed” of the Hebrew Alphabet combinations of the letter Yod. The
synthetic study of nature had led the
ancients to conclude that one law only existed and ruled all natural productions. This law, the
basis of analogy, placed the Unity-principle at the origin of all things, and regarded them as the
reflections at various degrees of the Unity-principle. Thus, the Yod, which alone forms all the
other letters, and therefore all the words and all the phrases of the alphabet, was justly used as the
image and representation of this Unity-principle, of which the profane had no knowledge.
Thus also the law which presided over the creation of the Hebrew language is the same law that
presided over the creation of the Universe, and to know the one is to know the other,
unreservedly.”10

At this stage of commentary it would be valuable to mention that, prior to the advent of the Hindu-Arabic
numeral system, in ancient Semitic alphabets such as Hebrew and Arabic, and in the Greek alphabet,
each of the letters served a dual purpose, in that they were both letters of the literal alphabet, representing
phonetic values, while at the same time representing numerical symbols. The 22 letters of the Hebrew
alphabet, and their final values, were arrayed according to a denary system. The first nine letters Aleph
through Teth, stood for the numbers 1 through 9, counting by ones. The second nine letters, Yod through
Tzaddi stood for the numbers 10 through 90, counting by tens. The numbers 100 through 900, counting by
hundreds, were achieved by ascribing final values to 5 of the 22 basic letters, thus giving a total of 27
values. In this manner all words, names and phrases comprising Hebrew sacred writings automatically
had numerical values that could be derived simply by summing the values of the individual letters. The
process of determining the numerical value of Hebrew words formed an important branch of Kabbalistic
studies called gematria.

In this system is to be found the association

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between language and geometry. Through
the agency of gematria, words, names and
phrases of the sacred writings can be
expressed as numbers and those numbers
linked with geometric form. Words
expressing key concepts or names could be
expressed as numerical values and those
values related to one another proportionally
and thereby reveal corresponding geometric
relationships. The system of gematria opens
the door to a truly astonishing system of
analogy between literary images and
geometrical pattern and demonstrates that
Gematria lying beneath the outer, literal forms of the
sacred writings, beneath the stories, the
parables, the moral teachings, resides another dimension altogether, one of pure geometry and
mathematics. It could be said that the literary expression of the ancient, sacred writings serves as the
vehicle or means of conveyance for the real teaching, which is another dimension of knowledge
expressed through the Sacred Geometry that emerges from a numerical reading of Scripture. The hidden
geometry of ancient sacred writings represents an amazing and profound dimension in the application of
Sacred Geometry which is beyond the scope of this article but which I explore in depth in my advanced
classes and will address in future articles.

It should be noted that there is a Kabbalah of the Greek sacred writings as well, for example, the New
Testament was originally written in Greek and displays the same principles of underlying geometric
meaning as can be found in the Hebrew of the Old Testament. It should also be noted that the method of
numerical substitution leading to mathematical and geometric insight into hidden dimensions of meaning
is not by any means confined to the Bible, but can be found in various kabbalistic works such as the
Sepher Yetsirah and the Zohar, in Gnostic writings, such as the Pistis Sophia, the Clementine Homilies
and others. Sufism incorporates a parallel method of numerical substitution, called the Cipher of Abjad, in
the interpretation of sacred works composed in Arabic. See the works of Idries Shah for an elaboration on
this tradition, most especially see The Sufis (1964). Papus goes on to elucidate further significance of the
letter Yod.

“The numerical value of the yod leads to other considerations. The Unity-principle, according to
the doctrine of the Kabbalists, is also the Unity-end of being and of things, so that eternity, from
this point of view, is only an eternal present. The ancients used a dot in the center of a circle as
the symbol of this idea, the representation of the Unity-principle (the dot) in the center of eternity
(the circle, a line without beginning or end.)” 11

The dot within the center of a circle is now

generally considered a symbol for the Sun,
but certainly also represents the
fundamental act of geometry, the simple
drawing of the circle with the compass.
Again, the numerical value of the Yod is 10.
In this number we have the symbol for Unity,
the All, represented by the number 1, paired
with the symbol for Nothing, the zero, but
also implying Eternity, for the circle has no
beginning and no end. Here we have simple
ideograms expressing the the All and the
Multi-Valent Symbol of the Sun, Action/Rest and Unity of Opposites
Nothing, the ultimate duality, conjoined
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symbolically by the numerical value of 10,
signified by the Yod, or seed from which all manifested existence springs, including all the words
comprising the sacred writings of the ancient Hebrew seers. The fundamental duality represented by the
All and the Nothing is recapitulated in the act of geometry, for in every turn of the compasses there is a
stationary fixed limb and an active moving limb, displaying the dynamic factor necessary for Creation to
take place. This is also the same duality symbolized in the I Ching by the contrasting pairs of fixed and
moving lines forming each of the 64 hexagrams. In astronomical terms the fixed limb corresponds to the
axis of any rotating spherical body, such as a moon, a planet, a star or a galaxy while the moving limb
corresponds to any point rotating on the equatorial circle.
Albert Pike, in his Masonic tome Morals and Dogma, explains the significance of the Yod from the
perspective of Freemasonry:

“In the East of the Lodge, over the Master, inclosed in a triangle, is the Hebrew letter YOD. In the
English and American Lodges the Letter G is substituted for this . . . YOD is, in the Kabalah, the
symbol of Unity, of the Supreme Deity, the first letter of the Holy Name; and also a symbol of the
Great Kabbalistic Triads. To understand its mystic meanings, you must open the pages of the
Zohar and Siphra de Zeniutha, and other kabalistic books, and ponder deeply on their meaning. It
must suffice to say, that it is the Creative Energy of the Deity, is represented as a point, and that
point in the centre of the Circle of immensity. It is to us in this Degree, the symbol of that
unmanifested Deity, the Absolute, who has no name.”12

The Holy Name to which Pike alludes is the name of the Old Testament deity, commonly known as
Jehovah, but originally considered to be the unpronounceable name of God, represented by the 4 letters
Yod, He, Vau, and final He, yielding a formula known as the Tetragrammaton. A future article will delve
into the significance of this name from the standpoint of Pythagorean Sacred Geometry. Note also that
Pike discloses the fact that in certain Masonic lodges the Yod is enclosed in a triangle, in this case an
equilateral triangle, the simplest of the polygons and the first to emerge from the circle through the
process of geometric construction. In Masonic lodges the symbol of the point within the circle is usually
depicted with two parallel lines lying tangent to and on opposite sides of the circle. When represented this
way the symbolism invokes not only geometric significance but geographic and astronomic as well. Pike
elaborates on further depths of meaning in the Yod.

Yod is termed in the Kabalah the opifex, workman of the Deity. It is, says the Porta Cælorum,
single and primal, like one, which is the first among numbers; and like a point, the first before all
bodies. Moved lengthwise, it produces a line, which is Vau, and this moved sidewise produces a
superficies, which is Daleth. Thus Vau becomes Daleth ; for movement tends from right to left;
and all communication is from above to below . . .Yod is the most occult of all the letters; for he is
the beginning and end of all things. The Supernal Wisdom is Yod; and all things are included in
Yod, who is therefore called Father of Fathers, or the Generator of the Universal. The Principle of
all things is called the House of all things: wherefore Yod is the beginning and end of all things; as
it is written: “Thou hast made all things in Wisdom.”13

The other two Hebrew letters to which Pike refers, the Vau and the Daleth, when added to the Yod,
represents the spelling out of the letter, because, in the Hebrew alphabet each letter is a name which is
actually spelled out in full. Contrast this with the Latin alphabet in use for modern English, the letter D, for
example, is never spelled out as if it were a word, i.e. Dee.
But in the Hebrew the letter Yod is actually spelled out Yod, Vau, Daleth, or Y, O, D. Rich symbolism can
be drawn from this spelling, in that, as already mentioned, the value of the single letter Y is 10, but the
value of the Vau is 6 and the value of Daleth is 4. Therefore the total numerical value of the letter Yod
when spelled out in full is 20, or 2 times the value of the individual letter, suggestive of the idea that a
doubling of the potential is latent in the seed. In the Tantric system the seed point of infinite potential is
the ‘Bindu.’ One of the indispensable works on Tantra for English readers is The Garland of Letters, by Sir
John Woodruff, wherein he discusses the Bindu.

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“This ‘Point’ is one of the world’s

religious symbols and is set in the center
of a Satkona or in a circular Mandala or
sphere . . . Where does the Extended
universe go at the Great Dissolution (
Mahaprajaya)? It collapses so to speak
into a Point. This point may be regarded
as a mathematical point in so far as it is
without any magnitude whatever, but as
distinguished from it, in that it has in fact
no position. For there is then no notion of
space. It need hardly be said that this is a
Y (10) + Vau (6) + Daleth (4) = 20 symbol, and a symbol borrowed from our
present experience cannot adequately
represent any state beyond it. We only conceive of it as a point, as something infinitesimally
subtle, which is in contrast with the extended manifested universe which is withdrawn into it. This
point is Bindu.”14

The limitless potential within the Bindu is suggested by Vivantha in his Commentary to the Satcakra:
“Within the Bindu is a space a hundred million Yojanas in expanse, and bright with the brightness
of ten million suns.” 15
(A Yojana is about 8 miles in length.) The duality inherent in the Bindu is described in The Serpent Power
, also by Sir John Woodroffe:

“Where does the Universe go at dissolution? It is withdrawn into that akti which projected it. It
collapses, so to speak, into a mathematical point without any magnitude whatever. This is the
iva-Bindu, which again is withdrawn into the iva-akti-Tattva which produced it. It is conceived that
round the iva-Bindu there is coiled akti, just as in the earth centre called Mldhra-Cakra in the
human body a serpent clings round the self-produced Phallus. This coiled akti may be conceived
as a mathematical line, also without magnitude, which, being everywhere in contact with the point
round which it is coiled, is compressed together with it, and forms therefore also one and the
same point. There is one indivisible unity of dual aspect which is figured . . . in the Tantras as a
grain of gram, which has two seeds so closely joined as to look as one surrounded by an outer
sheath.” 16

In the Vedanta, the metaphysical system originating in the Upanishads, considered the preeminent
scripture of Hinduism, we find a description of the primordial duality expressed as the infinitesimally small
and the infinitely great conjoined as a single entity, and having both an internal and an external aspect.

“Verily this universe is Brahman . . . it is to be worshiped in silence . . . Spirit is its material, life is
its body, light its form; its resolve is truth, its self is endlessness. . . this is my soul (tman) in the
innermost heart, smaller than a grain of rice, or of barley, or of mustard-seed, or of millet, or a
grain of millet’s kernel;—this is my soul in the innermost heart, greater than the heaven, greater
than these worlds.”17 – Doctrine of Candilya

Here we have a duality of dualities, ‘As Above, so Below’ and ‘As the Inner, so the Outer,’ for those who
traverse the path of Metaphysical Knowledge come to understand that there is an inner Universe as vast
as the Outer universe, and the two are linked by a common geometric harmony, reflecting one another in
a fourth dimensional symmetry. The fundamental duality is present in the act of Zimzum, which produces
a line defined by its two end points, one of which is the point of inception, the Singularity at the center of
the circle, and the other any point lying on the circumference, the two connected by a radius. Again, the
Upanishads conveys an awareness of the ultimate cosmic seed as an implicit function of Life.
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“tman, smaller than the small, greater than the great, is hidden in the hearts of all
living creatures.”18

Here is expressed an important idea lying at the core of Spiritual science: That there is a locus of infinite
potential and power within living organisms, and according to the teachings of Tantra this is most
concisely represented as the Bindu. In the systems of occult anatomy addressed in Tantra this duality
imaged by two endpoints of a line has its counterpart in the form of Siva Bindu, lying at the base of the
spine in the Muladhara chakra, and the Para Bindu, concealed within the pericarp of Sahasrra chakra,
gateway to the thousand petaled lotus, these linked by the line of force called Sushumna, the pathway
followed by the Kundalin akti when she awakens and ascends through the chakras, or vortices of subtle
energy lying along the 33 vertebrate of the spinal column. The chakras themselves are always imaged
with precise geometric attributes, for example, the representation of the Muladhara chakra as a 4-petaled
lotus, the Svdishana as a lotus of 6 petals, the Manpraka chakra as a 10 petaled lotus, and so forth.
Understanding the geometry of the chakras is as important as understanding the sound vibration emitted
by each chakra, the colors, the god names and other attributes.

In The Serpent Power, quoted above, the

author goes on to expound on the Bindu and
in doing so affirms its dual nature in that
there is an internal, spiritual meaning to
Bindu as well as an external, cosmic
meaning:

“. . . the akti coiled round iva, making one

point (Bindu) with it, is Kundalin-akti . . .
She is spoken of as coiled; because She
is likened to a serpent, which, when
resting and sleeping lies coiled; and
Chakra Geometries because the nature of Her power is
spiraline, manifesting itself as such in the
worlds—the spheroids or “eggs of Brahma”. . . and in their circular or revolving orbits and in other
ways . . . In other words, this Kundalin-akti is that which, when it moves to manifest itself, appears
as the universe . . . This akti coiled round the Supreme iva is called Mah-kundali, (“The great coiled
power”), to distinguish it from the same power which exists in individual bodies, and which is
called Kundalin.”19

The Serpent Power is a translation and commentary upon two Tantric texts originally written in Sanskrit.
One of the texts, at-cakra-nirpana or ‘Description of the Six Centers’ describes the zone of Para Bindu in
verse 48:

“Within its middle space shines the Supreme and Primordial Nirvna- akti; She is lustrous like ten
million suns, and is the Mother of the three worlds. She is extremely subtle, and like unto the
ten-millionth part of the end of a hair. She contains within Her the constantly flowing stream of
gladness, and it the life of all beings.” 20

The analogy of the ten-millionth part of the end of a hair illustrates the utter minuteness of the Bindu
which, nevertheless, can radiate with the luster of ten million suns.
Western occultism recognizes a cognate symbol in the form of Hadit, typically associated with the
Egyptian god Set in various magical lodges. Kenneth Grant head of the British O.T.O and author of
numerous works on occultism defines the term:

“Hadit represents the infinitely small yet supremely potent point or bindu which, in union with

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Nuit, generates the manifest Universe.” 21

Nuit, or Nut, is the Egyptian goddess of the

night sky, and is typically depicted in papyri
and on coffin lids as a woman arched over
the Earth in the form of a semicircle, with
numerous stars showing forth from her body.
Her two arms and two legs form the four
pillars upon which the celestial vault is
supported. Beneath the arched body of Nuit
is seen the supine figure of Set, or Seb, from
whose embrace she has just become
disengaged. In this occult interpretation
Hadit is understood to be the infinitely potent
Nut, is the Egyptian goddess of the night sky
seed impregnating the goddess of the
heavens through her union with Seb. This
idea brings us into the realm of exobiology, for modern research is proving the veracity of the Archaic
model of life propagation, that the terrestrial biosphere was the product of cosmic fertilization of the
primordial Earth. However in the image of coitus between Seb and Nuit we see the converse of the
celestial seeding of life onto Earth, for here the seed, after germinating in the Earth for multiple Eons, is
being transferred back to the Cosmic domain.

Pointing to the Alchemical nature of this process is the fact the Seb is positioned so that one hand is
raised to the heavens while the other is touching the Earth, again, symbolizing the Great Work, the linking
of Heaven and Earth in Cosmic Union, the meaning behind the Masonic ladder encountered earlier. A
noteworthy tradition that should not be neglected has its source with a Sub-Saharan people of Mali, West
Africa.

This would be the now well known Dogon tribe, the subject of several scholarly and popular works. The
Dogon have developed an exceptionally sophisticated and detailed cosmology that appears to defy the
notion that advanced scientific awareness was the sole prerogative of Western European culture. The
definitive work on the Dogon and their traditions is The Pale Fox, by the two eminent French
anthropologists, Marcel Griaule and Germaine Dieterlen, who spent years in their company, learning their
philosophy, beliefs, and eventually, in the case of Griaule, being initiated into their most sacred mysteries.
The Pale Fox was originally published in France in 1965 and was not published in English until 1986.
However, around the time of its first publication in France, an article was authored by Griaule and
Dieterlen which appeared in a book entitled African Worlds that was subsequently brought to the attention
of scholar and Orientalist Robert K. Temple by the inventor and philosopher of Consciousness Arthur M.
Young.

A passage in the article caught Temple’s attention and led him on a nearly decade long quest that
culminated in the 1976 publication of his research in a work entitled The Sirius Mystery. The passage
that so gripped Temple’s imagination read thusly:

“The starting-point of creation is the star which revolves round Sirius and is actually named the
“Digitaria star”; it is regarded by the Dogon as the smallest and heaviest of all the stars; it
contains the germs of all things.” 22

What Temple realized was the significant fact that the star which revolves around Sirius, now called Sirius
B, is, in fact, a star completely invisible to the naked eye. It was not discovered until well into the 19th
century with the aid of a powerful telescope and was not even photographed until 1970. Yet not only did
the Dogon know of its existence, they were also aware of the fact that its orbital period is 50 years and
had preserved this knowledge for many generations. Their traditions included an extraordinary wealth of
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sophisticated astronomical knowledge which makes for a profoundly interesting study. In recent years
controversy has arisen over the validity of some assertions made by Marcel Griaule, which has caused
defenders of orthodoxy to dismiss all claims to scientific knowledge on the part of the Dogon.

Without getting into the question of alien contact invoked by R. K. Temple, it certainly does appear that the
Dogon had a very sophisticated astronomy as documented by Temple. Their cosmology appears
consistent with other traditions such as we have discussed. Specifically they visualize Creation as
emerging from an egg within which is the “po” the seed of all things. To quote from Griaule and Dieterlens
major study of Dogon mythology and cosmology The Pale Fox we learn that “When Amma broke the egg
of the world and came out, a whirlwind rose.” The po, which is the smallest (thing), was made, invisible, at
the center. . . it is the po which Amma let come out first.” Amma’s creative will was located in the po, the
smallest of things . . . it is called po, a word considered to have the same root as polo ‘beginning.’ Indeed,
due to its smallness, it is the image of the beginning of all things. “All the things that Amma created began
like the little (seed of) po.” And, beginning with this infinitely small thing, the things created by Amma will
form themselves by the continuous addition of identical elements:

“Amma makes things begin (by creating them as) small as the po: he continues to add (to the
things created) little by little. . . As Amma adds that . . . the thing becomes large.”23

The image of the breaking of the egg and the emergence of the whirlwind are extremely evocative,
especially from the standpoint of the very unique geometry of ellipsoids and the spiraling movement of
matter and energy in a diverse range of phenomenon from the dance of neutrinos in a bubble chamber,
through the intertwined helixes of the DNA molecule, through weather systems, through the movement of
planetary bodies in space, to the structure and motion of galaxies. By immersing ourselves in the study of
Ancient Cosmology through a variety of sacred traditions and then turning to Modern Cosmological
thinking, we experience a sense of familiarity, for lying at the heart of both are models of Creation that are
strikingly similar. Whatever the origin of the ideas represented by Zimzum, or Hadit, or Bindu, or Yod, or
Po, or the Grain of Mustard Seed, in modern cosmology the SpaceTime Singularity emerged as an
inevitable consequence of Relativity theory. In a treatment of the principles of quantum physics and
cosmology for the general reader, author John Gribben discusses the work of physicist Stephen Hawking
in following the implications of Einsteins general theory:

“One of Hawking’s major achievements . .

. was carried out in collaboration with
mathematician Roger Penrose, who was
then working at the University of
London. Together they proved that the
equations of General Relativity in their
classical form…absolutely require that
there was a singularity at the birth of the
Universe, a point at which time began.”24

the emerging evidence now leads to the

Spiral Motion of Neutrinos and Helical (Spiral) Form of DNA (photo Alamy)
realization that probably every galaxy has at
its core a super massive, super dense
singularity surrounded by a spherical event
horizon, mimicking the ultimate Singularity
that presided over the birth of the universe.

I think we are here justified in asking

whether or not Hawking and Penrose were
merely recovering an insight into the most
fundamental processes of Creation which
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long ago were entertained by the Egyptians,
or the Masters of Kabbalah, or Tantra, or
Freemasonry, or the authors of the Vedas?
Whatever the answer, the parallels between
ancient and modern, between sacred and
scientific are indeed compelling; and
consistent with the fundamental ideas of
dynamic symmetry and scale invariance in
Sacred Geometry, that the proportions of
any whole structure, system, or composition
is reflected in its parts and vice versa, the
emerging evidence now leads to the
realization that probably every galaxy has
Spiral Motion of Planets Orbiting The Sun at its core a super massive, super dense
singularity surrounded by a spherical
event horizon, mimicking the ultimate Singularity that presided over the birth of the universe. This
structure comprised of singularity and event horizon was christened with the now familiar term ‘black hole’
by astrophysicists and cosmologists. ’ 25

In an early popular treatment of Black Holes,

Astrophysicist William J. Kaufman describes
the beast:

“As seen by a distant astronomer, a black

hole has formed once a dying star has
shrunk inside its event horizon. But there
are still no forces in nature that can
support the star. So it continues to
contract under the relentless influence of
ever-increasing gravity. The strength of
the gravity and the curvature of
6 Spiral Galaxies Photo: ESO spacetime around the imploding star
continue to grow until the entire star is
crushed down to a single point! At that point there is infinite pressure, infinite density, and, most
importantly, infinite curvature of spacetime. This is where the star goes. Every atom and every
particle in the star is completely crushed out of existence at this place of infinite spacetime
curvature. This is the heart of a black hole. It is called the singularity.” 26

What is an ‘event horizon‘? The event horizon surrounding a black hole is the boundary within which the
gravitational attraction of the collapsing stellar mass becomes so powerful that nothing, not even light, can
escape, hence the plunge into total darkness that gives these bizarre objects their name. How does one
even conceive of infinite pressure, infinite density or infinite curvature of spacetime? Kaufman continues
his account by emphasizing the very basic arrangement of matter and energy that comprise a black hole
“It is interesting to note that black holes are very simple…a singularity surrounded by an event
horizon. And that’s all!” 27

The structure of a black hole can, therefore,

be symbolized very effectively by the simple
geometric act of drawing a circle, the central
point representing the singularity and the
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circumference its event horizon. The
diameter of the event horizon is directly
related to the mass of the black hole, the
more massive the dying star the greater the
event horizon. Our Sun is not massive
enough to form a black hole when it reaches
the end of its life cycle. A star 10 times as
massive would, however, be of sufficient
mass to terminate its existence by collapsing
into a black hole. A star of this size would
disappear behind the dark veil of the event
horizon when it reached about 37 miles (60
km) in diameter. In 1975 Astrophysicist and
Singularity_EventHorizon Noble Laureate Subrahmanyan
Chandrasekhar wrote,

“In my entire scientific life . . . the most shattering experience has been the realization that an
exact solution of Einstein’s equations of general relativity . . . provides the absolutely exact
representation of untold numbers of massive black holes in the universe.”

It now appears that like billions of raindrops, nucleating around minute specks of particulate matter in
order to fall to Earth as a Life giving rainfall, billions of black holes serve as the nuclei for the accumulation
of stellar mass into galaxies and metagalaxies, pouring out of the Ultimate singularity at the heart of
Creation to bring Life and Consciousness into the Infinite Void of Absolute Nothingness. In trying to wrap
their minds around ideas of such profundity Cosmologists have had to concoct a number of conceptual
models that can provide at least partial analogies for the events and processes under consideration. One
of the most useful models has been termed the ‘Cosmological Principle.’ The fundamental idea behind
the ‘Cosmological Principle’ is that the universe can be likened to an expanding sphere, with the bulk of
visible matter of the universe arranged into galaxies— the largest structure of matter and energy
observable, for now, from our human vantage point—and these are visualized as dots on the surface of
the sphere.

The analogy is frequently presented of an

expanding balloon with dots painted upon its
surface. As the balloon expands the dots
move away from each other. To an observer
stationed at any one of the dots all the other
dots would appear to be receding, not only
from the observer but from each other as
well. While it may appear to the observer
that he or she is at the center of the system,
it would be obvious to an observer looking at
the balloon from the outside that no dot
would actually occupy a center any more
Artist Rendering of Universal Superstructure as Envisioned by the
than any other dot. Relative to the surface of
Cosmological Principle the balloon, the center would be both
everywhere and nowhere simultaneously.
However, a center of the expansion process could be hypothesized. If the balloon was perfectly spherical
it would have a central point from which it was uniformly radiating as it expanded. What interests us in the
context of this discussion is the initiation of the process of expansion. If we reverse the process,
visualizing the balloon shrinking to an ever diminishing radius, at what point will we have reached the
absolute beginning? Is there a lower limit beyond which we can no longer decrease the radius of the
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sphere, or does it ultimately shrink to zero, which is, in effect, inverse infinity? This is the assumption
behind the idea of the singularity. But, according to the precepts of relativity, it is not only Space, but Time
as well, that has its genesis in the Singularity.

Of course the expanding model is only a means to provide some kind of analogy to reality as we
experience and observe it within the limitations of our unique human centered, Earth centered vantage
point. In effect, as we attempt to visualize the process of Creation, it becomes necessary to visualize the
origin of Time and Space simultaneously, implying that the universe, rather than being an expanding three
dimensional sphere, is an expanding fourth dimensional hypersphere. By observing the present rate of
expansion of the universe, it is possible to infer the time span since the expansion began. By imagining
the spherical universe spreading out radially in all directions, then reversing the process so that the
sphere begins to collapse upon itself, in the nature of the ‘Great Dissolution’ or Mahaprajaya as
referenced earlier in The Garland of Letters, and accelerating the rate of this contraction to account for the
effects of gravity, one can obtain an approximate span of time since the expansion commenced, the
moment in which all of Creation had its genesis.

Cosmologists have performed this hypothetical reversal and derived an age of about 15 billion years, with
a margin of error of a few billion years more or less, owing to the fact that there is a large degree of
uncertainty regarding the precise rate of expansion. In any case, at some point going backward in time,
all the matter of the universe would eventually have been compressed into a state of infinite density.
Some moment, just preceding the collapse of all matter in the universe into an infinitesimally small dot
with a radius of zero, marks the very beginning of Space/Time. Cosmologists have reckoned this moment
to have been 10-43 part of one second subsequent to the Absolute, unfathomable beginning of Reality.

In The Quickening Universe author and astronautical engineer Eugene Mallove has written on the
subject of the origins of the universe and of human destiny as an implicit function of the universe. He
describes the ultimate primordial condition from the cosmological perspective:

“The beginning occurred about 15 billion years ago. The universe came out of the Big Bang
expansion of all space-time starting then. All matter didn’t explode from a highly compressed
state into an infinite void. Rather, space-time itself blew up from a virtually infinitesimal point,
continuing to expand and allowing galaxies of stars to evolve and grow ever further apart.
Moreover, this point is infinitesimal in the almost unimaginable sense of a spherical surface that
shrinks ever smaller toward a point, or an infinite volume that squeezes down to oblivion…” 28

Will the universe as we know it continue to expand forever, or will it eventually, at some inconceivably
distant future time, begin to undergo a contraction, returning ultimately to its primordial state, where all
spacetime as we know it is compressed out of existence, from whence it might once again undergo
cosmic expansion?

No one knows.

However, even a cursory consideration of ancient and modern cosmological models underscores their
striking correspondence. Did Ancient masters of Kabbalah, Tantra, or Hermetic Science have access to a
level of knowledge of which modern science has only recently come into possession? Vedic models of
cosmology postulate the occurrence of successive Creations, the great lifetimes of Brahma, reckoned
according to the vast cycles of the Kalpas.

Did Archaic science grasp the idea of a relativistic universe? If so, what was the source of this
knowledge?
Is such knowledge evidence for the existence of a technologically advanced society at some time in the
past, now forgotten to history, which was capable of studying the macroscale structure of the cosmos? Or
is it an implication regarding the metaphysical architecture of Human consciousness itself? Or is it some
combination of both? Whatever the answer, we are left with the Singularity, either as the beginning of it
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All or the End of it All, perhaps both. That single point, the infinitesimal dot, marks the beginning of our
journey into the kingdom of Sacred Geometry, and a truly astounding kingdom it is to those who can
successfully navigate its trackways.
The practice of Sacred Geometry opens to the mind’s eye an analog of alternate worlds, higher
dimensions representing the ultimate creative process and an unfolding evolution from Unity to multiplicity,
and it demonstrates the fact that this unfolding on a cosmic scale is governed by the laws and relations of
geometry.

The practice of Sacred Geometry opens to the mind’s eye an analog of alternate worlds, higher
dimensions representing the ultimate creative process and an unfolding evolution from Unity to multiplicity,
and it demonstrates the fact that this unfolding on a cosmic scale is governed by the laws and relations of
geometry.

The Holy Kaballah represents this process by means of the Tree of Life symbol and the 10 emanations
issuing there from as fruit, and these are elegantly exemplified by a unique geometry of simple
intersecting circles.
Physicist John Wheeler asked “What else is there out of which to build a particle except geometry
itself?” but the same question might well be asked of the macroscale— “What else is there out of
which to build a Universe except geometry itself?” The modern master of Sacred Geometry, Keith
Critchlow, recognized that the Sacred Temples of old encoded this cosmological geometry and could
serve to integrate human consciousness on a collective scale, because, as Sacred Geometry
demonstrates, we Humans, each of us, are the ultimate measuring rods of Creation, for encoded into out
very anatomy are the fundamental proportions upon which the Universe is built.

Describing this geometric order underlying all of Creation, Critchlow says:

“This is cosmology in the original sense of an ordered universe, a creation unfolding from a single
all-embracing source or reality. The study of the ratios of this unfoldment has the benefit of
indicating similar ratios for the return journey from multiplicity to unity.”29

So, these are the concepts that must inform and illuminate the commencement of our practice of Sacred
Geometry. In the performance of this ancient Art, we begin with simple forms, and move towards
increasing complexity, even as does the Universe in its evolution, and as does living Nature as it evolves
from a single cell through myriads of species into a Human Being with the capacity for self-cognition. As
we grow in our understanding of the proportions and harmonies expressed through the geometric
process, we can begin to perceive the hidden patterns of Creation that unite widely disparate
phenomenon, Natural and Human, into a synthetic whole and we can understand the literal truth that, as
the Inner reality and the Outer reality are but reflections of one another, and As it is Above, So it is Below
— the geometry of the Universe is a reflection of the geometry of our Consciousness — and, by following
the pathway from the unity of that single, ultimate point of conception to the magnificent diversity of form
which emerges beneath our compass and straightedge, we transcribe into our Consciousness the map
that will guide us on our return journey to the Cosmos, to wholeness and final integration with the
Godhead, the Atman, the source of All.

“. . . plunge into eternity, where recorded time seems but a point.” - Shelly, Prometheus

Sincerely Yours,

Randall

Read The Meaning of Sacred Geometry part 3, The Womb of Geometry

If you are interested in learning the divine

science of Sacred Geometry from independent
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scholar Randall Carlson please visit the
following link

Sacred Geometry International online Sacred

Geometry Classes

Upcoming Articles:

The Alphabet of Sacred Geometry

Proportion: The Foundation of Harmony
Fragment of The School of Athens – fresco by Raffaello Sanzio da Urbino.
Scale Invariance and Dynamic Symmetry
Room of the Segnatura (1508-1511), Vatican. God as Geometrician The Sacred Metrology
Three Negative Veils Kabbalistic Tree Of Life Diagram and FreeMasonic
Tracing Board George Washington in Masonic Cornerstone Laying
Ceremony // Plumb Bob and The Omphalos or Foundation Stone of REFERENCES
Solomon’s Temple This diagram conveys the idea Zimzum, with the single
thread of light reaching into the void, the zone of Nothingness. The 10th
and smallest letter or “seed” of the Hebrew Alphabet Gematria Multi-Valent
Symbol of the Sun, Action/Rest and Unity of Opposites Y (10) + Vau (6) + 1 Z’ev ben Shimon Halevi (1977) A Kabbalistic
Daleth (4) = 20 Chakra Geometries Nut, is the Egyptian goddess of the Universe, Samuel Weiser, Inc. pp. 7 – 8
night sky Spiral Motion of Neutrinos and Helical (Spiral) Form of DNA 2 Z’ev ben Shimon Halevi (1972) An
(photo Alamy) Spiral Motion of Planets Orbiting The Sun 6 Spiral Galaxies
Photo: ESO Artist Rendering of Universal Superstructure as Envisioned by Introduction the Cabala: Samuel Weiser, Inc.
the Cosmological Principle p. 28
Fragment
of
The
3 Halevi (1972) p. 29
School
of 4 Charles Ponce (1973) Kabbalah: An
Athens
–
Introduction and Illumination for the World
fresco Today: Quest
by Books, p. 79
Raffaello
Sanzio 5 Quoted in Gershom Scholem (1960) On the
da Kabbalah and Its Symbolism:, Schocken
Urbino. Books, English translation by Ralph Manheim,
Room
of 1965, pp. 102 -103
the
Segnatura 6 Scholem (1960) p. 103
(1508-1511),
SGI_Classes_Level_1_Banner_Update Vatican.
God7 Quoted in Kaplan, Aryeh (1979) The Bahir
as Illumination: Samuel Weiser. Attributed to
Geometrician
TheRabbi
ThreeNehuniah Ben Hakana, 1st century C. E.,
Negative Translation by Kaplan, p. xiv
Veils
Kabbalistic
Tree8 Kaplan (1979) p. xiv
Of
Life
Diagram 9 Elisabeth Haich (1960) Initiation: Seed
andCenter, translated from the German by
FreeMasonicGeorge Allen & Unwin, Ltd, 1965 p. 229
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Board 10 Papus (89 ) The Tarot of the Bohemians:
George Translated by A. P. Morton. Republished by
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Cornerstone11 Papus (89 ), p. 20
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Laying
Ceremony 12 Pike, Albert (1871) Morals and Dogma of
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Plumb
BobFreemasonry, p. 15
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Foundation14 Woodruff, Sir John (1922) The Garland of
StoneLetters: Ganesh & Co. (Madras) Private Ltd.
of
Solomon’s 5th ed. 1969. pp. 144 – 145
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This15 Quoted in Woodroffe, Sir John (1918) The
diagram
conveys Serpent Power. Translated from the Sanskrit
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idea
Zimzum,
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the 16 Woodroffe, Sir John (1918) pp. 34 – 35
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thread
of 17 Deussen, Paul (1912) The System of the
lightVedanta, trans. by Charles Johnston,
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Republished by
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Nothingness.
The
10th
and19 Woodroffe, (1918) pp. 35 – 36
smallest
letter20 Woodroffe, (1918) p. 447
or
“seed”
of 21 Grant, Kenneth (1974) Aleister Crowley
the and the Hidden God. Samuel Weiser, p. 209
Hebrew
Alphabet 22 Temple, Robert K. G. (1976) The Sirius
Gematria Mystery: St. Martins Press, Inc. p. 2
Multi-Valent
Symbol
23 Griaule, Marcel & Dieterlen, Germaine
of (1986) The Pale Fox: Originally published in
the French as Le Renard Pâle, 1965. Translated
Sun,
Action/Rest
from the French by Stephen C. Infantino,
andPh.D., Continuum Foundation, pp. 130 – 131
Unity24 John Gribben (1986) In Search of the Big
of
Opposites Bang—Quantum Physics and Cosmology:
Y Bantam
(10)Books, p. 381
+
Vau25 Shankar, Francesco (2009) The
(6) demography of supermassive black holes:
+ Growing monsters at the heart of galaxies:
Daleth
(4) New Astronomy Reviews, Vol. 53, pp. 55 – 77
= 26 William J. Kaufmann, III (1979) Black
20
Chakra
Holes and Warped Spacetime: Bantam
Geometries Books, pp. 88 –
Nut,89
is
the
Egyptian 27 Kaufmann (1979) p. 89

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http://sacredgeometryinternational.com/the-meaning-of-sacred-geometry-ii-whats-the-point
goddess
of 28 Mallove, Eugene T. (1987) The
the Quickening Universe: Cosmic Evolution
night
sky
and Human Destiny: St. Martins Press. pp.
Spiral52 – 53
Motion 29 Critchlow, Keith (1977) Forward to
of
Neutrinos
Gematria, A Preliminary Investigation of
andThe Cabala by Bligh Bond and William
HelicalSimcox Lea (1917) Republished by Research
(Spiral)
Form
Into Lost Knowledge Organization
of
DNA
(photo
Alamy)
Spiral Autho
Motion Randa
of
Planets
Carlso
Orbiting Randa
The Carlso
Sun
6
is
Spiral a
Galaxies maste
Photo: The Cosmic Science of
ESO
Randall Carlson revisits builde
Sacred Architecture Where Did The Road Go -
Artist Paranormal Radio to talk
and
Rendering Ice Ages, Atlantis and ... archite
of
Universal
design
teacher,
Superstructure geometrician, geomythologist,
as geological explorer and renegade scholar. He
Envisioned
by
has 4 decades of study, research and
the exploration Into the interface between ancient
mysteries and modern science, has been an
Cosmological
Principle
active Freemason for 30
years and is Past Master
of one of the oldest and
largest Masonic lodges in
Fragment of Georgia. He has been
The School recognized by The
of Athens – National Science Teachers
fresco by
Raffaello Association for his
Sanzio da commitment to Science
Lost Civilizations of North Randall Carlson - Cosmic Independent Scholar Urbino.
America Patterns & Sacred Randall Carlson and The
education for young
Room of the
Architecture Quest for Gnosis Segnatura people. His work
(1508-1511), incorporates Ancient
Vatican. God Mythology, Astronomy,
as
Geometrician Earth Science,
The Three Paleontology, Symbolism,
Negative Sacred Geometry and
Veils
Kabbalistic Architecture, Geomancy,
Tree Of Life and other arcane and
Diagram and scientific traditions. For
FreeMasonic
Tracing over 25 years he has
Board presented classes,
George lectures, and multimedia
Washington
in Masonic programs synthesizing this
Cornerstone information for students of
Laying the Mysteries. It is his
Page 20 of 21 Jul 14, 2014 06:12:33AM MDT
http://sacredgeometryinternational.com/the-meaning-of-sacred-geometry-ii-whats-the-point
Ceremony // aspiration to affect a
Plumb Bob
and The revival of lost knowledge
Omphalos or towards the goal of
Foundation creating the new world
Stone of
Solomon’s based upon universal
Temple This principles of harmony,
diagram freedom, and spiritual
conveys the
idea evolution.
Zimzum,
with the
single thread
of light
reaching into
the void, the
zone of
Nothingness.
The 10th
and smallest
letter or
“seed” of
the Hebrew
Alphabet
Gematria
Multi-Valent
Symbol of
the Sun,
Action/Rest
and Unity of
Opposites Y
(10) + Vau
(6) + Daleth
(4) = 20
Chakra
Geometries
Nut, is the
Egyptian
goddess of
the night sky
Spiral
Motion of
Neutrinos
and Helical
(Spiral)
Form of
DNA (photo
Alamy)
Spiral
Motion of
Planets
Orbiting The
Sun 6 Spiral
Galaxies
Photo: ESO
Artist
Rendering of
Universal
Superstructure
as
Envisioned
by the
Cosmological
Principle

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